September 15, 2020
This week we’re going back and revisiting the Gay Witch Hunt through the A Beninhana Christmas episodes of Office Ladies podcast. We go over things we may have missed the first time around and answer more of your questions. We start with a big boat correction, and we get a wonderful rendition of Heartbreak In The Breakroom by the amazing singer-songwriter Rhett Miller. Then, we’re joined by long time The Office editor, Dave Rogers. Dave gives us his The Office origin story, and gives us some deep dives on what went into editing The Office for the full nine seasons of the show. Finally, we continue on with some good Creed and Michael corrections and chat about maybe being a little hard on Jim. We hope you enjoyed your second drink of these episodes!
Don’t forget to follow @offiiceladiespod for more Heartbreak In The Breakroom submissions.
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45 — Revisited w/ Dave Rogers
JENNA FISCHER [00:00:04] I’m Jenna Fischer.
ANGELA KINSEY [00:00:05] I’m Angela Kinsey.
JENNA FISCHER [00:00:06] We were on “The Office” together.
ANGELA KINSEY [00:00:07] And we’re best friends.
JENNA FISCHER [00:00:08] And now we’re doing the ultimate “Office” rewatch podcast just for you.
ANGELA KINSEY [00:00:12] Each week we will break down an episode of “The Office” and give exclusive behind-the-scenes stories that only two people who were there can tell you.
JENNA FISCHER [00:00:19] We’re the “Office Ladies”. Hello, everyone. Hello. Welcome to another revisited deep dive episode of “Office Ladies”.
ANGELA KINSEY [00:00:34] Yes, you guys, you heard my lady friend. Today, we are going back over the first half of Season 3 of “Office Ladies” podcast. We’re going to respond to your questions, your comments about all the things we missed. We might not get to all of them, guys, but we’re gonna try. So that’s basically everything from “Gay Witch Hunt” to “Benihana Christmas”.
JENNA FISCHER [00:00:53] Yes. Now, Angela, we’re calling it a revisited deep dive. We did one of these with Ken Kwapis, where we really focused on “Casino Night” only. You know, like you said, we’re going to do multiple episodes today. We had some people write in with ideas for what we could call these.
ANGELA KINSEY [00:01:11] I love it. I love it. What?
JENNA FISCHER [00:01:13] OK.
ANGELA KINSEY [00:01:13] What?
JENNA FISCHER [00:01:14] So some people thought we could call it a “Remix”. Some people thought we could call it a “Rerun”. But Joel and Emma wrote in and said we should call these episodes “Second Drinks”.
ANGELA KINSEY [00:01:28] That is perfect.
JENNA FISCHER [00:01:28] I love it.
ANGELA KINSEY [00:01:32] That is so good.
JENNA FISCHER [00:01:33] So we are going to do a second drink of “Gay Witch Hunt” all the way to “Benihana Christmas”. But we’re also going to do a deep dive interview with our editor of nine years, Dave Rogers.
ANGELA KINSEY [00:01:47] Yes.
JENNA FISCHER [00:01:48] And Angela, I want you to listen to this sweet note that we got about Dave from Angela Newman.
ANGELA KINSEY [00:01:54] OK.
JENNA FISCHER [00:01:54] OK. She wrote in. She said, “I got to meet Dave Rodgers once ‘The Office’ was done filming. I went and waited outside the gates in hopes that someone would come out and let me go in and see the set. Sure enough, after a few hours, Dave came out and was beyond generous, gave me a full tour of the office and warehouse. It was the best day ever”.
ANGELA KINSEY [00:02:19] Oh, my gosh. Well, that is just the Dave that we know Jenna. He is just so lovely like that.
JENNA FISCHER [00:02:24] Yes.
ANGELA KINSEY [00:02:25] Well, we’re really excited to talk to him. You guys, no one knows the show like Dave, truly. He, like, watched us and edited us for nine years. The guy knows every detail about the show and, and we’re super, super excited.
JENNA FISCHER [00:02:39] Yes. And you guys sent in a bunch of questions. Thank you for sending those in. Angela, I’d like to start this revisit, “Second Drink”, by addressing what is possibly my-.
ANGELA KINSEY [00:02:53] I know what it is.
JENNA FISCHER [00:02:54] Biggest faux pas so far in the podcast. I just, I want to get it over with.
ANGELA KINSEY [00:02:58] Do it.
JENNA FISCHER [00:02:59] OK. I am calling thi-.
ANGELA KINSEY [00:03:01] This really made me laugh, by the way. All the comments are really cracked me up, so you guys, thank you.
JENNA FISCHER [00:03:04] I am calling this Revisited Fast Fact Number One: Jenna Really Shit the Bed on the plot of “Look Who’s Talking”. I got it like totally wrong.
ANGELA KINSEY [00:03:19] Well, and I was no help, ’cause I haven’t seen it. So I was like, oh, no way.
JENNA FISCHER [00:03:25] You guys remember at the beginning of “The Merger”, Michael is pretending to do a bit based on “Look Who’s Talking”, this movie. And I very confidently, very confidently, did this whole explanation of the plot. So many of you wrote in, I mean, too many to name. Truly.
ANGELA KINSEY [00:03:45] There were a lot. There were a lot.
JENNA FISCHER [00:03:47] But Sarah Elliot, Liano O’Brien, Rebecca Gurnett, Katie Humphries and Melissa all said, “Jenna, John Travolta is not the father of the talking Bruce Willis baby. It’s actually Kirstie Alley’s boss”. And yeah, I mean, yes, it all came back to me once I saw these messages.
ANGELA KINSEY [00:04:09] So they didn’t have a one night stand. He wasn’t the dad.
JENNA FISCHER [00:04:11] No.
ANGELA KINSEY [00:04:12] He got her to the hospital and then just somehow hung around.
JENNA FISCHER [00:04:16] Well, I’m afraid now, I’m afraid because I don’t want to get it wrong again. But somehow I believe he goes in the hospital with her. I don’t-, I should have checked. Why didn’t I check?
ANGELA KINSEY [00:04:28] Lady, this is “Second Drink”. You got to follow up. Here’s the thing. I think clearly you and I were meant to watch this together, even if we have to do it over Zoom. I will bring the rosé for myself, I guess, because it’s over Zoom. And you and I are gonna watch this movie together. It’s a BFF date.
JENNA FISCHER [00:04:47] Oh, lady, I’m so excited for it.
ANGELA KINSEY [00:04:50] We might-.
JENNA FISCHER [00:04:51] We will watch “Look Who’s Talking” together. And we will bring you our discoveries.
ANGELA KINSEY [00:04:57] Yes.
JENNA FISCHER [00:04:57] I love it.
ANGELA KINSEY [00:04:58] OK. Well Jenna, if that was your Revisited Fast Fact Number One. Are you ready for my Fast Fact Number Two?
JENNA FISCHER [00:05:05] Yes.
ANGELA KINSEY [00:05:07] I said, we’ve never been on a boat before, but-.
JENNA FISCHER [00:05:11] Oh.
ANGELA KINSEY [00:05:14] Of course, we’ve been on a big ol’ honkin’ boat. “Booze Cruise”.
JENNA FISCHER [00:05:18] Yeah.
ANGELA KINSEY [00:05:20] “Booze Cruise”, lady.
JENNA FISCHER [00:05:21] I mean, we were on a boat for three days together.
ANGELA KINSEY [00:05:24] Yeah.
JENNA FISCHER [00:05:24] We got the news that you were gonna be a series regular while on a boat together.
ANGELA KINSEY [00:05:30] I know. While on a boat. Now, listen, it was docked for two days, so we only went out, out and about on it one day. I think Jenna in my brain I thought of it as like work and not like recreational. You know?
JENNA FISCHER [00:05:43] Yes.
ANGELA KINSEY [00:05:43] I think that’s it went my brain like that.
JENNA FISCHER [00:05:46] We’ve never been recreational boating.
ANGELA KINSEY [00:05:49] Yes. That’s it. Exactly.
JENNA FISCHER [00:05:51] That is absolutely true. And we will have to do that. You know what would be amazing? Is if we could go recreational boating while watching “Look Who’s Talking”.
ANGELA KINSEY [00:06:03] Wait.
JENNA FISCHER [00:06:03] Because then that would just check all the boxes.
ANGELA KINSEY [00:06:05] Well, then one of our husbands better be driving. So.
JENNA FISCHER [00:06:08] Oh, dear.
ANGELA KINSEY [00:06:09] Oh, dear. Yes. Well, we have been on a boat, lots and lots and lots of you wrote in to tell us. And you were right. You were right.
JENNA FISCHER [00:06:18] All right. Well, Revisited Fast Fact Number Three is good news. This is not a mess up. This is a triumph.
ANGELA KINSEY [00:06:26] Oh, yes.
JENNA FISCHER [00:06:28] And that triumph is “Heartbreak in the Break Room”.
ANGELA KINSEY [00:06:31] Oh, my gosh, you guys.
JENNA FISCHER [00:06:34] We discussed Pam’s hunchy posture, her sexy hand knit sweater from her mom and her rejection by Jim in the break room scene of “The Merger”. We thought it would make the perfect inspiration for a country song. We asked you guys to send in your songs and oh, my God.
ANGELA KINSEY [00:06:51] Holy Guacamole, did you ever take that call to action? It has been such a delight and joy for Jenna and I. There are so many. We haven’t even made a dent. We haven’t made a dent. And so we’ve been posting them on OfficeLadiesPod, you know, our Instagram. And I just want you guys to know. Side note, I saw one time someone commented like, oh, you know, maybe your team post these things. No team, it’s just me and Jenna.
JENNA FISCHER [00:07:18] Oh, yeah. There’s no team behind our Instagram, guys. It’s us.
ANGELA KINSEY [00:07:21] And we are a two lady show here. So that’s why sometimes, well, we’re not super active on it, guys, because, you know, we’re moms and we’re busy. And anyway, we are going to try to keep posting these every week because they are just such a joy, and you guys, they have meant so much to us. Thank you.
JENNA FISCHER [00:07:39] Well, ladies, I have a surprise.
ANGELA KINSEY [00:07:41] What?
JENNA FISCHER [00:07:42] OK. You know, Rhett Miller from the Old 97’s is an old friend of mine?
ANGELA KINSEY [00:07:48] I do. And I’m, I’m like, really jealous. And it’s just like Jenna, I always think of you as, like, sort of the same level of dorkiness. But then every once in a while you have this, like, really cool friend. And I’m like, what the heck?
JENNA FISCHER [00:08:02] You have way cool friends, Angela.
ANGELA KINSEY [00:08:04] I have one or two. But Rhett is definitely one of yours.
JENNA FISCHER [00:08:10] He is. I, yes, I own it. He’s one of my cool friends. Well, he sent in a version of “Heartbreak in the Break Room”.
ANGELA KINSEY [00:08:17] Yes. And you guys, it is fan-flipin-tastic. Sam, can you play the song?
RHETT MILLER [00:08:29] [Rhett Miller plays “Heartbreak in the Break Room”]
ANGELA KINSEY [00:10:55] I mean, we were rocking out in our prospective closets the whole time, it’s so dang good.
JENNA FISCHER [00:11:01] I love it so much. So here’s how I met Rhett. Rhett knew Rainn somehow. And Rainn brought Rhett to set.
ANGELA KINSEY [00:11:10] Well, Rainn loves music. I feel like he’s, he’s like a real active-.
JENNA FISCHER [00:11:14] Oh yeah. Rainn’s a whole music guy. He knows all the cool music people. So he brought Rhett to set and they wanted to make this funny video. And Rainn pulled me aside and said, will you do this video in Michael’s office with me and Rhett Miller? And I was like, what? I was like, wait. Is it some guy named Rhett Miller or like Rhett Miller from the Old 97’s that I’m a huge fan of? He was like, it’s that one.
ANGELA KINSEY [00:11:44] Oh, my gosh.
JENNA FISCHER [00:11:44] And I was like, that’s cool. Yeah, I’ll play it cool. I’ll go do this video with Rhett in Michael’s office. It was so fun. And afterwards, Rhett said, hey, if you ever want to come to a concert, just let me know and you can come. Well, Lee and his brother, Tyler, are huge fans. So we all went. And this kind of started our friendship. You guys, Rhett is literally the nicest guy. Then I ended up doing a music video for his song, “Good with God”, with Fred Armisen. I just love him. And also, I found that video that we made.
ANGELA KINSEY [00:12:23] You did?
JENNA FISCHER [00:12:24] On the set of “The Office”. Yes. And I going to post it.
ANGELA KINSEY [00:12:27] Can we post it?
JENNA FISCHER [00:12:27] Yes.
ANGELA KINSEY [00:12:28] Oh, my gosh.
JENNA FISCHER [00:12:29] So here’s what we’ll do. We will post his song in OfficeLadiesPod. And then in our stories, I’ll post a link to this YouTube video. Oh, my God.
ANGELA KINSEY [00:12:38] Amazing. I cannot wait to see that. Lady, I feel like there’s something you and I’ve never spoken about. Is that, I guess we’ve both been in music videos.
JENNA FISCHER [00:12:49] Wait. What?
ANGELA KINSEY [00:12:50] Yes. I didn’t realize, I mean, I sort of remember you doing a music video, but I don’t know, I guess I forgot. I, in the 90s was in a country music video for Clay Walker. Clay Walker.
JENNA FISCHER [00:13:03] Oh!
ANGELA KINSEY [00:13:03] Anyone? Anyone? I wore, remember the construction boots? But like, girls wore them? With like jean shorts and like a top.
JENNA FISCHER [00:13:12] Yes. I remember this look.
ANGELA KINSEY [00:13:13] Yeah. And he was like singing on the stage, but like on a ranch. And then there was a bunch of people around just kind of like, I was sitting, kind of slapping my leg to the music. Like I’m a blur. I’m a blip. It’s like you barely can see me. Guess what the song was?
JENNA FISCHER [00:13:29] What?
ANGELA KINSEY [00:13:30] It’s very catchy. It went well, something like this. “If I could make a million out of lovin’ you. I’d be a millionaire in a week or two. I’d be doing what I love and lovin’ what to do. If I can make a million out of lovin’ you”.
JENNA FISCHER [00:13:46] I love this.
ANGELA KINSEY [00:13:47] It’s a great song. Yes. So we were both in a music video.
JENNA FISCHER [00:13:52] We’re awesome.
ANGELA KINSEY [00:13:52] I mean, you’re a little bit more legitimately in the music video. I mean, I was like an extra in my construction boots.
JENNA FISCHER [00:13:58] Still. It all counts.
ANGELA KINSEY [00:13:59] It all counts. All right. Well, you guys, you can see Rhett perform four days a week on Stage It. So that’s stage and i-t. Stage It. And there’s information on his Twitter at RhettMiller. R-h-e-t-t-M-i-l-l-e-r. And you can probably request “Heartbreak in the Break Room”. Rhett.
JENNA FISCHER [00:14:16] Oh, please do.
ANGELA KINSEY [00:14:18] Please request it.
JENNA FISCHER [00:14:18] Please do. Also, the Old 97’s just released their new album called “12th”, which features the song “Turn Off the TV”. And guess what? Speaking of music videos. I make a little cameo in that too.
ANGELA KINSEY [00:14:32] Holy cow, Rhett. I think you might need a few more “Office Ladies” in your videos.
JENNA FISCHER [00:14:38] Oh, I hope so. I filmed it at my house and I sent in the footage. It’s really cool. You have to look for me. I’m on one of the TV shows. It’s like a little Easter egg. But we love you, Rhett.
ANGELA KINSEY [00:14:49] Thank you so much, Rhett. Well, Jenna, I think we should take a little break and then come back and play our interview with Dave Rogers.
JENNA FISCHER [00:14:56] I love it. And then after our interview with Dave, we will break down all those things that we missed, all of our “Second Drinks”.
ANGELA KINSEY [00:15:08] Dave Rodgers, thank you so much. We are so delighted to see you.
DAVE ROGERS [00:15:12] I’m so excited to see you guys. It’s been a little while. I feel like I just saw you yesterday because I watched the show constantly. And I’ve spent probably more time watching you guys than anybody else in the universe. So.
JENNA FISCHER [00:15:26] Wait, Dave, you still watch the show, even though you edited the show and had to watch the show in great detail for like 10 years of your life? You can still stomach watching it?
DAVE ROGERS [00:15:37] Yeah, there’s still a lot-. I watch a lot of it in syndication because it’s on, you know, like I don’t seek it out. But like, you know, even when you’re scrolling on the guide on your TV, it’s like, oh, “Office”. So I click to see what episode it is and inevitably I just get sucked in. It’s amazing, though, how so many kids watch the show now, my nephews are 10 and 8 and, and they watch the show. They love it. And they came to visit the set. They have no recollection of visiting the set or anything. I’m like, I have pictures of you guys. I had to throw you off the set, you were running around and diving on the floor. You know? Yeah.
JENNA FISCHER [00:16:10] Dave, I stole the show Bible when the show wrapped, but I think you are a walking show Bible. I think you are the show Bible in human form. I don’t think there’s anyone who knows more about the details of our show than you. So we’re really excited you’re here.
DAVE ROGERS [00:16:27] Wow. That’s a lot of pressure. I got to say, at one point I did know the show better than anybody, but it’s been a few years and I see, I see now like trivia questions and just what fans write. And I’m like, oh, god. Yeah. I don’t remember that. I better, I better check on that and stuff like that.
ANGELA KINSEY [00:16:44] Well, the fans are super excited you’re here, Dave, and they send in tons and tons of questions for you. And we cannot wait to just dive into it.
DAVE ROGERS [00:16:51] I’m excited.
ANGELA KINSEY [00:16:52] Should we do a deep dive with Dave Rodgers?
DAVE ROGERS [00:16:55] Deep dive.
JENNA FISCHER [00:16:58] Well, Dave, the first thing we always like to ask people is how did they come to get their job on “The Office”?
DAVE ROGERS [00:17:04] You know, I worked as an assistant editor in television for a long time. I started on “Seinfeld”. And then after that I did a show called “News Radio”.
ANGELA KINSEY [00:17:14] I love “News Radio”.
JENNA FISCHER [00:17:15] I love “News Radio”.
DAVE ROGERS [00:17:17] I cut the clip show for “Seinfeld”. So if you ever watch the hour long clips show that aired right before the series finale. That was my first solo editing credit. And then at “News Radio” I was an assistant editor, but I started editing as well. But the line producer was a man by the name of Kent Zbornak.
JENNA FISCHER [00:17:36] Whoa. Kent-apedia.
DAVE ROGERS [00:17:36] Yeah. Yeah. So Kent was a, Kent was a line producer, and we always stayed in touch and, you know, I worked on other projects with him. And then at some point, I was back at “Seinfeld”, I was working on all the extras for the DVDs. Kent sent me an email, said, hey, I’ve got a series for you. Take a look. Here’s the pilot. I think you’d be a good fit for the showrunner, Greg Daniels. So I said, OK. And I watched the pilot and I was like, and I hadn’t seen the British version of the show. I hadn’t watched the British version or anything like that. I was coming in completely fresh. And I watched the pilot and I was like, oh, my God. Just the way his relationship was so, you know, cringey and just his relationship, especially with you, Jenna, at the beginning with, you know, messages and and just the way he would, he would talk to you and everything, like how he could turn on a dime. You’re like, you know, just even in that scene with the, with the salary, like, yeah, we could all use a raise. And he’s like, not today, Pam, not today. And I just, I was like, oh, my God. So I met with Greg. I think I met him at the set. You know, I think they were writing there and they had offices there. So I was at, you know, the original building down, down, off La Cienega and Jefferson. The season one location.
JENNA FISCHER [00:18:51] Yeah.
ANGELA KINSEY [00:18:52] Yeah.
DAVE ROGERS [00:18:52] We just, we just sat outside and talked just about our, like, philosophies, you know, how Greg is. Just our philosophies on editing and shows and things like that. And I just, I think I really understood the characters right away. And, and I said I could see Dwight having a “Battlestar Galactica” Viper on his desk. Like “Star Trek” was too mainstream and cool for Dwight. Like-.
ANGELA KINSEY [00:19:15] Wait. Were you-? Did you plant the seed for “Battlestar Galactica” for Dwight as a character?
DAVE ROGERS [00:19:20] I do take that. I have been credited with that.
ANGELA KINSEY [00:19:25] That’s amazing.
JENNA FISCHER [00:19:25] Oh my gosh.
DAVE ROGERS [00:19:27] And then at about the time, like Season One, I think I actually probably Season, Season 2, I think the new “Galactica” had started airing. So that’s, that really kind of, you know, came together, you know, for the final episode that I directed, the, the penultimate episode. Dwight hangs a “Galactica” model in his, in his office. And, you know, he even says things about a, little Philip. He’s like he looks at the “Galactica” the same way I do. And, you know, it’s great. It just all, you know, it all kind of came together, that I got to got to deal with “Battlestar Galactica”.
ANGELA KINSEY [00:20:02] Wow.
DAVE ROGERS [00:20:03] This is a deep dive.
ANGELA KINSEY [00:20:06] Oh, man.
JENNA FISCHER [00:20:07] I didn’t need know there was an old versus new “Galactica”.
DAVE ROGERS [00:20:11] Oh, my gosh.
JENNA FISCHER [00:20:11] That’s how out of the loop I am. I disappoint you. Oh no.
ANGELA KINSEY [00:20:13] Jenna. Jenna. I’m really sad day.
JENNA FISCHER [00:20:15] Dave’s hanging up.
ANGELA KINSEY [00:20:16] You’re embarrassing yourself, right now. Oh, my God.
DAVE ROGERS [00:20:17] I was just gonna say, so I met with Greg and that was it. We just, we just hit it off and he’s like, all right, come on board. So that was it. And then I started, you know, my first day there was when, the first day of shooting “Diversity Day”, and that was it. I started, you know, editing on “Diversity Day”. And then, and I tweaked the pilot a little bit. But it was Kathryn Himoff who, who edited the pilot. And she did a, she did an amazing job on that. And so I just came in just, we changed a couple things for, for broadcast, very slightly. But I started from from, you know, “Diversity Day” to The Finale.
JENNA FISCHER [00:20:53] Wow.
ANGELA KINSEY [00:20:54] Wow. OK, well, listen, a lot of fans wanted to know about your process, Dave. Like when, when do you sit down to start editing an episode? What’s the first thing you do when, like when you get all of the footage from an episode, how many hours of footage do you get? How do you organize the footage? I mean, how do you begin to build an episode?
DAVE ROGERS [00:21:10] There’s a couple different ways that I would, you know, start attacking an episode, as we would say. One way is to just start watching dailies, just start watching the footage and I’ll just watch takes and I may write down notes. And sometimes I’ll just, you know, just scribble little things like, oh, I like this Pam reaction or oh, this was great. You know, we got the shot on on Angela or Kevin or, you know, whatever it was. And then other times, like as I’m watching, if I see something, like a take, a lot of time takes a few takes to really get in, but sometimes, you know, you get that magic of the first take too of little things, but then I’ll just throw it into the timeline and I’ll, I’ll lay it in. And then it’s a question of like, OK, what beats this? What, what part is better? You know, because you could lay in a whole take and and say, all right, now I’m going to take it even line by line and just see what beats this, what’s, you know, is, are there any takes that are better? And then you’re looking for, you know, reactions and you’re looking for, you know, even alt jokes, things like that. But a lot of times, you know, there’s a natural flow to a take. So you, you get it. You lay it in and, you know, large portions we don’t cross takes. And it’s just like, oh, this is it. They’re, they hit it and they’re rolling it, you know? And sometimes, you know, some of the things we would do is, you know, if there’s a reaction that’s slow or something like that, you know, we’re on one angle, then we go to the other. We can pull, pull stuff up. Or if, or if there was a pause in dialog, I can cut to a reaction and I can bring the audio in a little earlier just to pace things up a little bit. But, but overall, it was just, you know, just looking, what are the, you know, what’s the best take? What’s funny? What makes me laugh? And that’s, you know, that’s what I go with.
ANGELA KINSEY [00:22:53] I remember being on set and we would do it take that felt fantastic. Like we were in the groove. And then and then whoever the director was or would say, oh, circle that one, Veda. So you would get those from Veda, right? Like you would get all of those documents that were like, oh, this was Greg’s favorite take of this scene. And did you use that?
DAVE ROGERS [00:23:11] Yeah, yeah. A lot of times. I mean, it was tough. Sometimes the director would say, oh, circle that, circle this, but it’s like a seven minute take and you don’t know-. They might-, it’s like circle this like, you know, Dwight said this here and this line, and, you know, the director was, oh, that was good. So, you know, you don’t know. You use it as a guide and see what did they like, but sometimes we didn’t get the specific information of, well, what, what exactly did they like in that take? Because, you know. Listen, one of the hardest things of cutting the show. And I, and I say this with, with all honesty, was we had an embarrassment of riches. Like a lot of times you’re like God, what’s better? And sometimes it was like performance, you know, like this performance is great. This one’s great. It’s a little different. Sometimes, you know, this joke is great or sometimes, you know, this joke is great and then, you know, different jokes. You know? We had, we have a candy bag where we would have all these alts and things like that. You know?
JENNA FISCHER [00:24:04] I know that we would spend one week shooting the episode. How long did you have to edit an episode?
DAVE ROGERS [00:24:11] Editors don’t have production hours. We wouldn’t come in at like 5:00 a.m. or 6:00 a.m. to get makeup and hair and all that. We roll into like 10, 10:30.
JENNA FISCHER [00:24:19] I remember.
DAVE ROGERS [00:24:20] You know, maybe settle in with a good game “Call of Duty” and then we start attacking the dailies.
JENNA FISCHER [00:24:27] But then you’re there until like midnight or 10 o’clock at night. Yeah.
ANGELA KINSEY [00:24:30] Yeah.
DAVE ROGERS [00:24:31] As we would get deeper into the series and if we needed to lock in episode or get a network cut out, there were some, there were some late, late nights and a lot of times, you know, after let’s say, you know, after we finish shooting on a Friday, it might be done the next Thursday or Friday, you know. But then as the season would, would build up like you’re doing assemblies, but you’re also doing network cuts. You’re doing, you know, producers’ cuts and you’re locking things, so it would build up. You were working on multiple episodes and everything would kind of slow down a little bit. You know, the, just like, OK, it’s going to be a little bit of a delay on this assembly here or this director’s cut. But we managed, we managed to get everything done on time. So that was, that was a good thing.
ANGELA KINSEY [00:25:13] I feel like our sound engineer Sam Kieffer right now is listening and being like, oh, I know. Oh, I know.
JENNA FISCHER [00:25:18] Yeah.
ANGELA KINSEY [00:25:19] Like because we do, we chat for, for a bit. And Sam has to go through all of it.
JENNA FISCHER [00:25:23] Well, I think something people don’t realize, Dave, is it’s not like you just would get footage and then you edit it and it’s done. You edit it and you give it to the director who gives you notes, and then you reedit it and give it to the producer who gives you notes. And then you guys would have to turn it into the studio and into the network. And people are constantly giving you notes on these different cuts. How many different cuts would an episode go through?
DAVE ROGERS [00:25:48] It would probably take about five cuts per episode. But sometimes more. And sometimes, you know, we’d work scenes, you know, like, you know, like basically we would build the assembly. And that means we would build everything, that was in. And a lot of times we would have, like I would say, somewhere like 60 hours of footage. I mean, you guys would shoot for the, you know, shoot a week. You know, so it’s like five days, like 12 hours of footage. And, you know, the assistant editors were great because they would, you know, we would shoot on video. And a lot of times, remember, we, how we would roll in between takes. The camera would still be rolling. We wouldn’t call cut and action because that would take longer. And so the assistants would cut that stuff out. They would consolidate the footage, get it ready for us. But it was still like, you know, a lot of hours of footage to go through. And then it would go to the director and the director would swap takes and they would change some things, timing. And, you know, they may make some trims and make it a little tighter and shorter. Then, you know, it would go to the producers. It would go to, a lot of times it would go to the writers or Greg would look at it right away. And a lot of times Greg would say, you know, either, you know, why don’t you do your own cut now? So I would take the best things from the assembly and the best things from the director’s cut. Make my own cut. Take some time out a little bit, too. Sometimes the writers would have some notes. They would say, hey, why don’t you try this or do this? And I would say, if I liked it, I would do it. If, and put it in the cut. If I didn’t like it, I might do it and just have it as an alt, just to show them and to show Greg and I could say, like, hey, this is why I didn’t do this. I felt like this was better. But here it is. It’s easy to swap in or out. Then we’d go to Greg. He would, you know, we would do, you know, what was called the network cut, send it to the network. They would give notes and then it would go back again. And we would, we would lock the show. But it was very collaborative with everybody. I’ll have to say, you know, from, from the directors, the producers, the writers, the studio, the network, we were all just trying to make the best show.
ANGELA KINSEY [00:27:42] I remember being on set and there’d be times where Greg would say, hey, can we get Dave Rodgers on set because they were shooting a scene and they needed you, your editors’ eye, on the set because they wanted your opinion about, OK, we’re shooting it this way. Is it going to work in editing? And you would come down to set and I always found that really fascinating.
DAVE ROGERS [00:28:01] Greg always talks about how he, he brought all the worlds together, like he brought writers on to, you know, writers were actors. And, you know, it was, it was nice that he brought editors onto the set, you know, so I knew the cast and the crew very well. You know, it was great that we were all filming in the same area. Greg would say, hey, can you come and look at this? You know, sometimes it was about continuity. Will things track in editing? Sometimes it was just about like will this, will this shot cut if we do this and we shoot from this angle, will this cut to something that we’re gonna shoot later? So it wasn’t, wasn’t that often that he would, you know, need me. Sometimes it was just to confirm something that he already, you know, had a thought on. And I’d say, yeah, yeah, that’ll work. That’ll work. I mean, that was it. But everybody kind of knew what they were doing. I mean, we had, you know, I can’t say enough about Randall Einhorn and Matt Sohn. I mean, we had fantastic, you know, camera guys. And I mean, the whole crew was just really, I think everybody just loved being there and loved the show, that everybody was just working really hard, you know, to make everything, everything work really well.
ANGELA KINSEY [00:29:02] It really did it.
DAVE ROGERS [00:29:03] Yeah, it really did.
JENNA FISCHER [00:29:04] Well, I wanted to say, Dave, not on a single one of my other projects since I left “The Office” have I ever met the editors.
ANGELA KINSEY [00:29:12] Exactly. Same.
JENNA FISCHER [00:29:14] I have never met them. I don’t know them. I’ve tried to kind of pop in to the edit bays, the way we used to come and pop into yours. And they seem confused. And the, the producers of the shows that I’ve done that have been not warm to that. It’s like they don’t want the actor to see the editing process. They don’t want the actors, I don’t know. It’s like as if we’re gonna go in there and lose our shit because we saw a scene too, you know, uncut in its finished version. I don’t know. I guess what I’m saying is just that, the relationship that we had, I mean, I just I, I have never seen a show runner facilitate that kind of warmth and inclusion with a crew and cast and writing staff the way Greg did.
DAVE ROGERS [00:30:03] I think a lot of editors and producers are afraid of actors coming into the edit bay for what you said, like, oh, if something’s uncut or not ready and then they, you know, they complain or uh, do we have to-? You know, and there’s that fear of like, well, we have to reshoot because some diva actor, you know, says we have to do this or something. You know, for us, I think it, I think it’s important to say where our edit bays were first of all, we were right there on the first floor, like where Michael Scott’s, you know, parking spot is, my edit bay was on the other side of, of that sign.
ANGELA KINSEY [00:30:36] “Pretzel Day, Pretzel Day”, they were all down your hallway.
DAVE ROGERS [00:30:39] Michael Scott Paper Company was our, I mean, our bathroom and that doorway there, you know, those were-.
JENNA FISCHER [00:30:44] Yeah.
DAVE ROGERS [00:30:45] You know, we were right down the hall from Caffeine Corner. So, and anytime we shot, like, at the warehouse or in the parking lot, you know, the cast would come and hang out. And we always, listen, we, I always loved going to set, but it was always great when, having you guys come in. And, you know, I loved showing you guys things too. Of like, oh, take a look at this and see this. And I think also, listen, I think editors, you know, Greg said something. He’s like, you know, you really like the gatekeeper because I would see stuff before anybody else would. And so I could communicate, especially, you know, we have actors that are, you know, if they’re, hey, did this work? Or, you know, when you have things, you know, everybody had different things that their character was doing too. Like you can see the evolution of Pam or the evolution of Angela. So if I could communicate, hey, this, this romantic scene that you played today was really good. It was really romantic and really funny. You know, I can say, like, oh, this was, you know, I can communicate that to you. There’s no, there’s no secrets. I’m not trying to hide anything. And I think it’s, it’s good to, to let the cast know. You know, so those, I think that was kind of the relationship that we had and we were always, always welcoming. I love when you guys would hang out like in between takes and just sit on the couch and, you know, we would just, just chat away.
ANGELA KINSEY [00:31:56] I know Jenna and I have talked about this. We have so many fond memories of like multiple members of the cast just piling in on your, you had that black leather sofa.
DAVE ROGERS [00:32:05] Yeah.
ANGELA KINSEY [00:32:05] We would just pile in on it, and you would show us all these different takes and we’d be howling with laughter. And Greg would sometimes be like, hey, which one did you like? We’re trying to decide between these two, which I think is really unheard of. Right?
DAVE ROGERS [00:32:16] That actually brings up a good point. People have asked, you know, the mythology of Greg Daniels, does he A B things a lot? Does he have different versions? And it’s like, yes, he does. And A B-ing is kind of like, it’s, you know, it’s kind of like going to the eye doctor or when you, when you have those things on your eyes, and he’s like, OK, is this better or is this better? Is this better or is this bet-, you know?
ANGELA KINSEY [00:32:37] It’s so minimal. It’s such a minimal difference.
DAVE ROGERS [00:32:40] Yeah. And so, Greg, you know, we would, we would always like have, especially like in the early seasons, you know, the pilot, Season 1, you know, he would, he would always, you know, want to see things, like different versions of things and he’d want to show these to people. So we, you know, first he’d be like, oh, let’s bring in the writers. But then he wanted like a wider array of people. So he, he would talk to the cast. He would show them things. He would bring in, though, like the real accounting department for the show. He wanted, like people who were like non-creatives, so to speak, to look at it. And I remember we were, we were editing Season 1. We were out of our, out of the stages where we were, you know, out of that building. And we were like editing at some E office suite. And there were just other people in the building working. And he had, he brought like a cleaning lady, a shoe salesman and someone else to watch “Diversity Day”. Like, what do you think of this?
ANGELA KINSEY [00:33:36] Oh my gosh.
DAVE ROGERS [00:33:36] What do you think of that? Like, yeah, good. Good. You know, he wanted, he didn’t know if the slap, you know, when Mindy slaps Steve was too harsh, he didn’t know, like, you know, certain jokes were playing and things like that. So, yeah, he would always want to see, you know, what was the, what was the better version and really get a, get a sense of, you know, he wanted to poll people and find out what, what people thought. And now I don’t know if you guys remember the main title music, but he went out to the cast, he’s like, hey, pitch songs. So everybody pitch songs. And then it got narrowed down. I had to cut like 21 different versions of the main title.
ANGELA KINSEY [00:34:12] Oh my gosh.
DAVE ROGERS [00:34:13] Like. You had a song, you had a song. This was it, you know. ‘Cause it. I had to cut the pick. It wasn’t like I could just lay the song in. I had to cut the picture to the, to the song.
ANGELA KINSEY [00:34:21] To the song.
DAVE ROGERS [00:34:23] Yeah.
ANGELA KINSEY [00:34:23] Sorry, Dave.
DAVE ROGERS [00:34:24] John Krasinski, I remember, he had a good song by Sloan that was almost, you know, that was a contender. I mean there were a lot of, a lot of good songs. But of course ultimately we went with the first song that we got submitted to us from a composer, which was the theme, as we all know it, to “The Office”. And that was it. Yeah.
ANGELA KINSEY [00:34:41] Wow.
DAVE ROGERS [00:34:43] You know?
ANGELA KINSEY [00:34:43] I pitched Modest Mouse. Like “we’ll all float on OK”. Do you remember that song?
DAVE ROGERS [00:34:48] Yeah.
JENNA FISCHER [00:34:49] Yes.
DAVE ROGERS [00:34:49] I think it was being used by like the CW or something like-.
ANGELA KINSEY [00:34:53] It was, it was. Oh my gosh, Dave, you are just like a walking treasure.
JENNA FISCHER [00:34:58] Do you remember any other scenes that you guys, that you tried multiple versions of? Well, for example, I know that there was that, the parking lot proposal between Jim and Pam, for example, there was a big debate about whether or not we should hear the audio or not hear the audio. Did you have to cut two versions of that?
DAVE ROGERS [00:35:17] Dean Holland cut that. He, Dean cut that scene. We cut two versions of that, of that scene. You know, one where you would hear the audio and one where you didn’t. And we left the mix that night, and the one that was going in was the one without audio.
JENNA FISCHER [00:35:34] OK.
DAVE ROGERS [00:35:34] And Greg woke up the next morning and changed his mind. And that was, you know, and that’s the one that went in. Ultimately he, you know, and some might say oh, it might have been a bolder choice to, you know, to not hear it. But again, I think there’s something with the, the satisfaction of the audience of, you know, wanting, wanting to hear this. And, you know, with all the, you still get a sense of with all the noise and the chaos of the trucks going by and the rain and things like that, that it still feels, you know, distant and dirty. It’s not, you know, this, you know, perfectly cinematic moment, although, you know, ultimately, I think that’s what it is. It turned out to be that with all of the chaos going on. There was actually, they were supposed to destroy the-, the house was supposed to destroy the version without the sound. Like we didn’t want it accidentally ending up anywhere. And they didn’t. And it almost ended up on the DVDs.
ANGELA KINSEY [00:36:28] Ooh.
JENNA FISCHER [00:36:30] Ooh.
DAVE ROGERS [00:36:30] Yeah. And Jake Aust, who was our associate producer at the time, was like, wait a minute, you know? And that was almost a huge problem, that it almost made it onto the DVD as the official episode, you know, because someone grabbed the wrong, you know, master. But, yeah, that was, that was one of those things that a, where we had different versions. Listen, there are, there are, you know, different versions of the shows that we’ve locked. There were, you know, there was, there was one episode, “Lice”, was one of these episodes where I think I started editing it and then Claire Scanlan was finishing it. And I was, I think I was directing and that’s why I didn’t, I didn’t lock the episode. And then I went to the mix and I realized, like, if the show just ended at the end of the episode with Meredith, bald Meredith taking a, you know, asking Pam to go get a drink. And I was like, wait, what what happened to the bar? Them going to the bar.
JENNA FISCHER [00:37:27] Yeah.
DAVE ROGERS [00:37:27] And sharing a moment and singing. And so I, and after the mix, I came back to work and I said, Hey, Greg. What what happened to the end of the episode? He goes, Oh, did you miss that? I go, Yeah. I kind of did. He goes, Yeah. Some other, other people did too. He’s like, well, why did you take a look and see? I, I just felt like there were some stuff that was too long. And I said, I think I can make some tiny trims and, and still be able to squeeze that in and not really lose too much. And that’s what I did. We, I mean, this was a locked episode, ready, you know, ready to be delivered. And we changed it. I was like, you know, I did a new version, kept the ending. I’d have to look to see exactly where I took out a little bit of air, or what pieces I lost. But I felt like ultimately was a better episode to see Meredith and Pam bonding at this bar.
ANGELA KINSEY [00:38:16] Yeah.
JENNA FISCHER [00:38:17] Oh, Dave. Thank you, from me personally.
DAVE ROGERS [00:38:19] You’re welcome.
JENNA FISCHER [00:38:20] Doing that scene with Kate in the bar was one of my favorite moments on the show. And I just think I would have been so heartbroken if that had not made it.
DAVE ROGERS [00:38:31] Well, yeah, you’re welcome. I mean, listen, it was not, again, it was just a choice, originally, like, oh, I think we can, you know, it was still a nice ending before. But I think that this really brought it to a, to even a nice, a better place at the end. But I remember the writer, Niki Schwartz, had a, you know, she was home sick and she got a DVD that said “locked”, you know, episode. She’s like, wait a minute, I already got the locked episode and she watched it. And she was, she was so happy to see that scene back in there too. She didn’t realize what had, what had happened. And I was like, yeah, that, that was like the one time where I really unlocked something and, and, and, you know, made a change like that.
JENNA FISCHER [00:39:09] Well, I want to ask you about improvisation. What was it like for you to deal with all of our improvisation? As an editor?
DAVE ROGERS [00:39:18] It was great. There’s no difference to me between improvisation or scripted stuff. And whatever was funniest, won. I mean, that was it. If something, if someone said something funny, I didn’t, listen, I never cared who wrote a joke, you know, I never, there was never anything like, oh, this person wrote this or this wrote this like I didn’t-. So whatever was, you know, whether it was a line that was written in the script, whether it was something a writer pitched on the set or whether it was something an actor just came up with, you know, whatever was the funniest is what what we would end up putting into the cut.
JENNA FISCHER [00:39:51] Who improvised the most, Dave? Or who are some of the people who improvised most often?
DAVE ROGERS [00:39:57] All of you guys, I think, you know, once we got comfortable with, you know what, especially once we shot the takes that we needed. I think, I felt like all of you guys were were at the best, improvisers. And you could see when, when we’d get guest cast come in, who could improvise and who, you know, who is not quite as quick, you know, to do it. But I was always impressed. I mean, anybody would, you know, just the way you could react to someone else throwing something new at you was always impressive. All, I felt like everybody just had the chops. They were all ready to go. I think, you know, if anything, sometimes people would crack up. Listen, I have I have, you know, the audition tapes and the screen tests and there is a screen test, I don’t even think this is on the DVD. But there’s, there’s one of Steve Carell and Rainn Wilson. And it’s so funny. It’s, it’s like an improv about Dwight, you know, Michael is saying, Dwight, have you been using my office when I’m not there? And Dwight’s like, no, I haven’t. He’s like, because someone use my coffee mug. He’s like I don’t think was me. He’s like, because there was chocolate milk in it. And, and just then, he’s like, and you’re the only one who drinks chocolate milk. And Rainn is cracking-, like Steve managed to break Rainn for a couple seconds. And it’s just-.
JENNA FISCHER [00:41:09] During the audition?
DAVE ROGERS [00:41:10] During the audition. Just the chemistry test. And it’s just beautiful. But you can see, like, they’re so good right away, like just the way Steve is giving glances to the camera and just the way he’s like, you know, he’s like, look, we have a good relationship, we’re friendly. And Rainn goes, best friends, and Michael’s well, you know, friendly. And it’s, it’s just I was like, wow, just right out of the get go, these guys just have it. You know, there’s something special there.
JENNA FISCHER [00:41:35] Yeah.
ANGELA KINSEY [00:41:35] We have a fan question that I think people are going to be really excited to hear about.
DAVE ROGERS [00:41:39] OK.
ANGELA KINSEY [00:41:39] They wanted to know if you had any go to cast members when you needed a reaction.
DAVE ROGERS [00:41:44] I loved, I loved going to Leslie. Anytime I can get, you know, Stanley, you know, givin’ an eye roll. You know, that was always fantastic. Phyllis, you know, I mean, listen, I’m, I’m a fan of everybody, so it’s like, well, whoever, whoever was appropriate. Kevin, you know, there were times actually, this is, this is kind of an interesting thing, which isn’t so much a going to reaction shot. But, you know, we would, we would do this kind of thing that started, we wouldn’t do it too often at first, where somebody would say something and camera would push it a little. Then they’d say something again to camera, would push in a lot. And I think, I feel like the camera’s love this like kind of trick we would do. But they started doing it a lot very early and, and, and often. And it was like, wait, nothing has, you know, substantiated it. Like it hasn’t earned this, like in this scene. And I remember one time Kevin was saying something and you were standing next to him. And what, I can’t remember exactly now what it was. But he said something offensive and the camera pushes in, but it like cropped Angela out. And I was like, whoa, whoa, whoa. And I, and luckily there was another take where it didn’t. And it’s like, yeah, because you want to see Angela’s reaction. She’s standing there reacting. It wasn’t even so much of a payoff as a bonus. Do you know what I mean? Like, his line was funny, but to see her actually cringe from it at that, in, in real time, like, that’s what’s, like we don’t want to lose that kind of thing on the show. So I said, guys, you know, let’s, I just showed some examples. I was like, just be aware of this. A lot of times when you have two people on the same plane, we don’t want to lose, you know, what other people are doing because reacting is acting. Like we’re, we’re getting some gold here. Like this is what’s, he’s saying something funny, but her reaction is equally as funny, if not even funnier, and it enhances the whole scene.
JENNA FISCHER [00:43:37] Well, to be fair, Angela’s very tiny and it must be hard to hold her in a shot with some of these very tall actors on our show.
DAVE ROGERS [00:43:45] We did have a lot of tall actors, like all these act-, I’d go on set and, you know, Rainn was super tall, Creed, John was like a giant, you know?
JENNA FISCHER [00:43:53] Yeah. Brian’s so tall.
ANGELA KINSEY [00:43:55] A lot of the Dwight and Angela big moments, he’s seated and I’m standing.
DAVE ROGERS [00:43:59] Yeah.
JENNA FISCHER [00:44:00] So, Dave, another thing that we got a lot of mail about. People are very curious to know what were the most challenging aspects of editing “The Office”.
DAVE ROGERS [00:44:09] The challenging, challenging things for editing was just always, you know, getting a lot of footage. You know, sometimes the cameras are moving all over the place and, you know, because they’re, they’re just zipping around. It’s like when you have a big bullpen scene and it’s like, OK, we’re catching this person and this person. It’s not, the cameras aren’t static. I mean, that and that was part of the joy of our show, is that they would move around and find things and sometimes they would be intentionally late and, you know, to, to really feel like that they were working like a documentary. I mean, that was challenging, you know, the chaos of, of “Stress Relief”. You know, the opening for that, Dean cut, Dean and I both cut the episode, but he cut the, you know, “The Fire”. People always love “The Fire” and “Stress Relief”, and, you know, to me, like that’s a tour de force, just seeing all the stuff, all the action and seeing, you know, there’s Michael trying to throw a chair out the window. There’s Kevin throwing a chair at the vending machines and, you know, just the fireworks going off and things like that and just, you know, just the pacing of it. Like, that’s an exciting thing. The Finale was tough to cut. I mean, there was so much pressure on The Finale. Claire Scanlon and I split cutting The Finale and she cut the first half and I cut the second half. And then Greg did something very radical after he saw the assembly. He’s like, all right, you guys switch. And he put me on the first half. And then Claire on the second half. So I did like a polished pass with Greg on the first half. And Claire did the second half. And then we combine them and we still like, I still worked on stuff in the end, she worked on stuff in the beginning, but it was really interesting. We were like, what? This is crazy. Like, I’m so familiar with this footage and she’s so familiar with this. But it actually made a lot of sense. And especially having Claire, I think, really do a pass on some of the more sentimental stuff in the end, you know, like her sensibilities, like to really find some stuff there that maybe I didn’t see and for me to attack some of the more, you know, bachelor party, male bonding stuff. You know, I think, I think Greg, Greg was smart.
JENNA FISCHER [00:46:12] Did you take anything from the set when we wrapped?
DAVE ROGERS [00:46:15] So I have two things that are that I took. This is the “Galactica” that Dwight hung up. As I said, I’m a huge “Galactica” fan and I chose the original model when I got to, as a director of “Arm”. I got to choose what, which “Galactica”, which version of the “Galactica” we would, we would use and Rainn signed it for me, he said, “David, Galactica loves you. Rainn Wilson. Dwight”. And so I have this “Galactica”. This is the one that Phillip, Phillip looks at the “Galactica” the same way I do.
ANGELA KINSEY [00:46:51] Yeah.
DAVE ROGERS [00:46:51] So I have that and I have something. I think you said that somebody took this sign from the lobby. I have the backup one.
ANGELA KINSEY [00:47:02] Oh, that is awesome. Oh my God. That’s fantastic.
DAVE ROGERS [00:47:06] So this is, this is the backup one that would hang up. I guess sometimes, you know, if we did any kind of stunts or, you know, if we had something that could potentially get the sign messy or if we needed to do anything on the fly where we had to build a wall. That was the backup one.
ANGELA KINSEY [00:47:24] Fantastic.
DAVE ROGERS [00:47:25] Listen, I can gush, I mean, I love you guys. I love you guys. I loved the cast. I hope that was, I think that was known on the, on the set. I was just such a a fan and I always, you know, wanted your best stuff to come out and to protect you guys and to make it look funny when, you know, when, whenever you guys did something, to always show your best, not, not to make you look funny, but to always show your best, funniest performances and also your most heartfelt. I mean, I just, and I loved anybody who came on the show. You know, I was, I was a fan of a, you know, when Rashida came on, when Ed Helms came on, with Zach Woods. I mean, anybody, even the new, even the new guys, when they came on. Clark and Jake, when they came on, you know, anybody who would, who, who became a part of the family, I always just wanted their best stuff to come out and, and to let them know when they were, you know, to reassure them, hey, you guys are doing good work. You’re doing good work. It’s really funny. It’s working.
ANGELA KINSEY [00:48:18] No, Dave, we loved you so much.
JENNA FISCHER [00:48:20] Dave, thank you so much for coming today to talk to us. This was so great.
ANGELA KINSEY [00:48:26] Thank you, Dave.
DAVE ROGERS [00:48:26] Thanks. Yeah.
ANGELA KINSEY [00:48:26] You have to come back.
DAVE ROGERS [00:48:28] I would love to come back anytime.
ANGELA KINSEY [00:48:30] All right, Dave. Bye.
JENNA FISCHER [00:48:32] Bye, Dave.
DAVE ROGERS [00:48:33] Bye, guys.
JENNA FISCHER [00:48:37] All right. We are back. Thank you, Dave. Again, thank you. I mean, amazing.
ANGELA KINSEY [00:48:41] Amazing. And we can’t wait for you to come back. I mean, I know we said that, too, but we are going to hold you to it.
JENNA FISCHER [00:48:48] Well, Angela, where should we begin? I know where you want to begin.
ANGELA KINSEY [00:48:52] I need to desperately begin with Clementine Paddleford.
JENNA FISCHER [00:48:55] Yes. We called her Clementine Paddleford. But we have come to learn that her name is pronounced Clementine.
ANGELA KINSEY [00:49:01] Yes. And her close friends called her Clem. That was her nickname.
JENNA FISCHER [00:49:05] But, guys, I hate to tell you, this is not all we’ve learned about her.
ANGELA KINSEY [00:49:08] We both listen to a podcast about her life. It’s an amazing podcast, Jenna, called “Fierce”.
JENNA FISCHER [00:49:14] Yeah, it tells the stories of forgotten women in history that changed the world. And Clementine Paddleford was their first episode.
ANGELA KINSEY [00:49:21] Yes, you can find it. I think it’s on iHeart, “Fierce”. Fantastic podcast series. So we listen to that. And then I read some fantastic articles about her. One of the ones I loved was by Linda Rodriguez McRobbie, and it’s featured on Mental Floss.com. It is so good. I might have to do a swipe up to it on InstaStory. Jenna. It’s really great.
JENNA FISCHER [00:49:44] Tell us what you learned, Angela.
ANGELA KINSEY [00:49:45] Oh, I don’t even know where to start, Jenna. I don’t even know where to start. I’m so excited to talk about this woman. First of all, when you think about every sort of food blogger or someone who writes about food in the world today, she was the first. She was the pioneer.
JENNA FISCHER [00:50:02] Yes. Because she talked about the process of making food, not just how the food tasted when she ate it, but she made it a point to go into the kitchens, to go into people’s homes and watch how they cook. And then she wrote about this, in this like beautiful poetic storytelling kind of way that made it like just riveting. And it is 100 percent the basis of food writing today.
ANGELA KINSEY [00:50:29] Yes. If you think of someone like Anthony Bourdain.
JENNA FISCHER [00:50:32] Yes.
ANGELA KINSEY [00:50:32] Clementine started that type of genre. And what I love about her too, Jenna, is that she never, ever let anyone identify who she could be or how she could do it. She was born in Manhattan, Kansas. She ended up in Manhattan, New York. She never took no for an answer. She was traveling all over, like writing about food, and she couldn’t get to all the places she wanted to fast enough. So she learned how to fly a plane.
JENNA FISCHER [00:50:58] Yes.
ANGELA KINSEY [00:50:58] So she could fly herself around.
JENNA FISCHER [00:51:00] I thought that was so bad ass.
ANGELA KINSEY [00:51:02] She went back to school when she was 50. She went on a nuclear submarine to see how you feed that many sailors when she was 61 years old.
JENNA FISCHER [00:51:11] Incredible.
ANGELA KINSEY [00:51:12] Such a passion.
JENNA FISCHER [00:51:13] She’s an incredible woman, you guys. And by the way, she, her article on Benihana is why Benihana blew up.
ANGELA KINSEY [00:51:21] Yes. It’s why that restaurant became what it is. And you guys, she wrote a book. It took her 12 years to compile it all, from all her travels and all her food experiences. It’s called “How America Eats”. I found one.
JENNA FISCHER [00:51:34] What?
ANGELA KINSEY [00:51:34] My husband bought it for me. And I’m getting it. I’m getting it!
JENNA FISCHER [00:51:37] My gosh. That’s amazing.
ANGELA KINSEY [00:51:39] I’m so excited. You guys, thank you for indulging me on that whole Clementine tangent. But since we discussed her during “Benihana Christmas”, we need to go over a few things we missed, Jenna. First off, when Michael enters riding the bike, Christie G, Lauren S, Collin C, Sophia M, Justin L and many, many more wanted to know, “In the cold open, Michael is riding a bike. However, in a future episode there is a cold open where we learn that Michael never learned how to ride a bike. Is this a continuity error? Does the show Bible say anything about Michael’s bike riding abilities”?
JENNA FISCHER [00:52:16] Well, Angela, I went to look this up in the show Bible.
ANGELA KINSEY [00:52:19] Mmhmm.
JENNA FISCHER [00:52:20] But guess what?
ANGELA KINSEY [00:52:21] What?
JENNA FISCHER [00:52:22] My show Bible only goes through Season 6.
ANGELA KINSEY [00:52:27] Oh, no.
JENNA FISCHER [00:52:27] I didn’t know this. I’m flipping and I have an incomplete show Bible. I’m so disappointed in myself for stealing an incomplete show Bible.
ANGELA KINSEY [00:52:37] So what? We’ve got to hit up Greg.
JENNA FISCHER [00:52:39] I did a little digging.
ANGELA KINSEY [00:52:40] OK.
JENNA FISCHER [00:52:40] And it’s true. In Season 7, Episode 5, “The Sting”, Michael says he can’t ride a bike. I think this was just a mistake. It is a continuity error, but it is an error. This catch is also part of an article on Screen Rant called “25 Mistakes in ‘The Office’ That Only True Fans Noticed”. We have discussed some of them, like some of the other ones they talk about is who really started at Dunder Mifflin first? Was it Jim or Pam? Or the fact that Pam’s mom changes. It also mentions what we did talk about in Benihana, Angela, the thing about your sisters. Like how many sisters do you really have?
ANGELA KINSEY [00:53:20] Right.
JENNA FISCHER [00:53:21] All that kind of stuff. Basically, guys, I just have to say good catch. Yeah.
ANGELA KINSEY [00:53:25] Well, there’s going to be a few things. One of my favorites, which we’ll get to is that, you know, the Senator has a son. When I meet him, he has a son. And we never see that kid again. What happened?
JENNA FISCHER [00:53:36] Yeah, that’s right.
ANGELA KINSEY [00:53:38] Yeah.
JENNA FISCHER [00:53:38] Out in the hay. Yeah.
ANGELA KINSEY [00:53:39] Hay place.
JENNA FISCHER [00:53:40] Well, we also forgot to mention the whole runner with the bathrobes in “Benihana Christmas”. Remember in this episode, corporate gives everybody a bathrobe, but Toby doesn’t get one. Michael takes it away. So Toby spends the whole episode sort of pining away for a bathrobe. Finally, in the end, Pam gives him one. But, Angela, a lot of people wrote in and wanted to know more about these robes. For example, everyone wanted to know if we got one in real life.
ANGELA KINSEY [00:54:13] We did not get that robe. That robe was a prop. We did, however, get a gift from our producers one year of a bathrobe, Jenna.
JENNA FISCHER [00:54:21] Yes. Like a blue terrycloth bathrobe that said “The Office” on it.
ANGELA KINSEY [00:54:26] I still wear it. My dog ate a hole in the sleeve. But I won’t give it up. I still wear it.
JENNA FISCHER [00:54:31] It’s so cozy. I still have mine too.
ANGELA KINSEY [00:54:33] It’s like really wearing a blanket.
JENNA FISCHER [00:54:36] Well, one of my favorite scenes from this plotline is the scene where Toby is in the kitchen and he’s talking to Kevin and he’s sort of, he’s sort of just like stroking Kevin’s robe.
ANGELA KINSEY [00:54:49] Like longingly wishing he had one.
JENNA FISCHER [00:54:52] Yes, exactly. Well, we had a fan catch from Brooke Biegel, “In ‘Benihana Christmas’ at 14 minutes, 32 seconds, you can see a poster for Happenings magazine right behind Kevin. Is that a real local Scranton magazine”? Yes! Happenings magazine was founded in 1969, and its purpose was to encourage people to travel between Scranton and Wilkes-Barre for different cultural events. And in 2004, they even created an online version. Guys, both the print version and online version exists today. You can find them today at HappeningsMagazinePA.com.
ANGELA KINSEY [00:55:35] See, now, I would love that. I would check that out to see what was happening. You know, maybe there’s like a pumpkin patch or there’s apple picking or you don’t know. You don’t know what’s happening.
JENNA FISCHER [00:55:44] I love local newsletters. I subscribe to my town’s local newsletter.
ANGELA KINSEY [00:55:50] My grandmother wrote a column for the newspaper called “Around the Town”.
JENNA FISCHER [00:55:55] It was just stuff happening around the town?
ANGELA KINSEY [00:55:57] It was just what was happening, you know, around the town.
JENNA FISCHER [00:56:01] Yeah. Sounds very similar to Happenings magazine.
ANGELA KINSEY [00:56:03] Yes, my grandmother probably would have loved Happenings magazine. OK. Well, Jenna, I would like to discuss a few deleted scenes that I think really give us some fun information about some characters.
JENNA FISCHER [00:56:16] Oh, go.
ANGELA KINSEY [00:56:17] You know, I love Creed, so I’m going to start with Creed. So in “The Convict”, there is a deleted talking head where Creed says that he’s been to prison and in fact, that’s where he got his name, Creed, was in prison.
JENNA FISCHER [00:56:31] Meaning that Creed is not his given name. It’s just the name he got in prison.
ANGELA KINSEY [00:56:37] He doesn’t go into it. We don’t know why. And then he goes on to say that he used to make a type of wine called pruno in the toilets. And it’s made of fruit, sugar and ketchup. And he really he really misses that wine.
JENNA FISCHER [00:56:57] Oh, my god.
ANGELA KINSEY [00:56:58] Pruno.
JENNA FISCHER [00:56:57] That actually made my stomach turn, when you said ketchup.
ANGELA KINSEY [00:57:01] It’s so disgusting.
JENNA FISCHER [00:57:02] I mean, it started with toilet, and then it went full circle when you said ketchup.
ANGELA KINSEY [00:57:08] Creed making pruno.
JENNA FISCHER [00:57:09] Well, this is interesting because that would be at odds with the “Booze Cruise” deleted talking head in which Creed admits to being himself, Creed Bratton from the Grassroots. But both of those talking heads were deleted. So I guess it doesn’t matter.
ANGELA KINSEY [00:57:26] I think with Creed, nothing matters. All bets are off. He lives under a desk. He lives in Toronto. We don’t know where he lives. He’s got multiple names, identities. And you know what’s great about Creed? I think from the writer’s standpoint is it didn’t matter.
JENNA FISCHER [00:57:42] Yes.
ANGELA KINSEY [00:57:42] Because you never know if Creed’s telling the truth or not.
JENNA FISCHER [00:57:45] It’s such a fun character to write for.
ANGELA KINSEY [00:57:47] Mmhmm. So the other deleted scene, which is so good, Jenna. You know, Jenna, you keep saying you have a new appreciation for the character of Ryan.
JENNA FISCHER [00:57:55] Yes.
ANGELA KINSEY [00:57:56] Well, for me, it’s Phyllis. I can’t get enough of her. So there is this deleted moment between Pam and Phyllis in “The Convict”. Michael has locked everyone in the conference room and in the deleted scenes, there’s a real passage of time that doesn’t happen in the episode. I guess we just didn’t have enough time, you know, in the 21 minutes and 30 seconds that we get.
JENNA FISCHER [00:58:16] Like what Dave was saying.
ANGELA KINSEY [00:58:18] Yes. So they have to really truncate it. But there’s this great scene where Phyllis is showing Pam her engagement ring. And Jenna, it’s not a cluster.
JENNA FISCHER [00:58:28] It’s not a cluster?
ANGELA KINSEY [00:58:30] We knew it. We called it. It’s not a cluster. It is an enormous marquee engagement ring. Huge marquee diamond. And in fact, she brags to Pam. She’s like, you know, this is the most expensive type of diamond? And Bob wanted to get me even a bigger one.
JENNA FISCHER [00:58:48] This makes so much more sense. In that very first scene when she tells Michael that she’s engaged. She had that little cluster on her finger.
ANGELA KINSEY [00:58:58] They did not have her ring yet. That is, that is-.
JENNA FISCHER [00:59:01] Clearly.
ANGELA KINSEY [00:59:01] And it makes sense that she would have a big ol’ diamond from Bob Vance of Vance Refrigeration.
JENNA FISCHER [00:59:06] Yes. Oh. Oh, I wish they’d kept that in.
ANGELA KINSEY [00:59:11] Yeah. And it’s really fun. It’s really cute. She’s so, so proud of it.
JENNA FISCHER [00:59:16] All right. Well, Angela. Now people have a gripe with us.
ANGELA KINSEY [00:59:20] What did we do?
JENNA FISCHER [00:59:21] It’s about our assessment of Wishy Washy Jim.
ANGELA KINSEY [00:59:26] Oh, well, I thought that might be coming.
JENNA FISCHER [00:59:27] Crystal Nichols wrote in to say, “I don’t think Jim is Wishy Washy, nor does he owe Pam an explanation about Karen”. Amy Durham agrees, “Pam flirted with Jim and established intimacy with him for Seasons 1 through 3, but then always went home to Roy”.
ANGELA KINSEY [00:59:43] Oh, well, that’s, there’s some truth there.
JENNA FISCHER [00:59:46] Bronté thinks that there are times when Jim is downright mean or disrespectful and doesn’t think that he should always be called a nice guy. But Emily Hubbard defends Jim by saying, “He is making an effort to be friends with Pam while not crossing the line into flirtation. He likewise doesn’t lay it on thick with Karen in front of Pam, out of respect. But since Pam kept Jim on the hook for so long, he’s right not to do the same thing to Pam in return”. I think it’s just, people are pointing out Pam started the Wishy Washy.
ANGELA KINSEY [01:00:18] Pam. Her Wishy Washy-ness to me was like another level because she was engaged and living with someone.
JENNA FISCHER [01:00:28] Mmhmm.
ANGELA KINSEY [01:00:28] And. I know her heart was like falling for Jim and she was having sort of almost like this emotional affair. But she was-.
JENNA FISCHER [01:00:38] She was 100 percent having an emotional affair.
ANGELA KINSEY [01:00:39] Yeah, exactly. And then also trying to figure out like, well, I’ve put so much time in with Roy. So she was definitely doing all this waffling. And then, I don’t know. It’s, it’s, it’s really hard. This is the star crossed lovers story.
JENNA FISCHER [01:00:55] Well, we have a final thought.
ANGELA KINSEY [01:00:58] OK.
JENNA FISCHER [01:00:58] From Randall Robertson, who wrote this. “I’m coming to the defense of Jim being Wishy Washy. Don’t you ladies remember young love? Pam was Jim’s everything. He told her he loved her and then kissed her and she kissed him back. She then told him she was going to still marry Roy. Pam tore Jim’s heart into a million pieces, then put those pieces in a shredder behind her desk. Karen is a rebound and now he has to be in the same space as the woman who put him in his heartbroken state. When you have no heart to give anyone, all you get is Wishy Washy”.
ANGELA KINSEY [01:01:37] Randall Robertson. That was amazing.
JENNA FISCHER [01:01:42] And it’s true. We were too hard on Jim.
ANGELA KINSEY [01:01:44] Randall, that last line. When you have no heart to give anyone, all you get is Wishy Washy.
JENNA FISCHER [01:01:50] Yeah.
ANGELA KINSEY [01:01:51] Well, there was a little bit of debate, Jenna, about whether or not Toby outed Oscar or if he had Oscar’s permission to disclose he was gay in the “Gay Witch Hunt” episode. We were giving Toby a lot of grief about this, remember?
JENNA FISCHER [01:02:05] Yes.
ANGELA KINSEY [01:02:05] Emily Zaloom says, “100 percent Oscar outed Oscar”. To which Caitlyn Workman and Annie Day both point out, “At the end of Toby and Michael’s conversation, Toby says, ‘Oscar obviously hopes he can count on your discretion’”. Which they think sort of implies that Oscar gave Toby permission to tell Michael.
JENNA FISCHER [01:02:25] So Toby saying Oscar hopes he can count on you.
ANGELA KINSEY [01:02:30] To be discreet.
JENNA FISCHER [01:02:31] Means I guess that may be filling in the blanks, Toby said to Oscar, do you mind if I share this information with Michael? To which Oscar said, yes, but please ask him I would appreciate his discretion.
ANGELA KINSEY [01:02:46] I don’t buy it. I don’t think Oscar would trust Michael with anything about his personal life.
JENNA FISCHER [01:02:50] You know what? Even more, I think Toby has to be like, OK, let’s say I do have Oscar’s permission. Is this still the conversation I should have with Michael? I mean, he kind of has to have the conversation, right? Because he has to speak to Michael about his behavior.
ANGELA KINSEY [01:03:09] Well, gosh, now I think they’re, now I think they’re right.
JENNA FISCHER [01:03:13] Oh my goodness.
ANGELA KINSEY [01:03:13] Like the, the more you’re talking, now, I’m like, oh, oh yeah. Toby had to say something. And Oscar was like, OK, well, if you tell him it’s OK.
JENNA FISCHER [01:03:21] OK.
ANGELA KINSEY [01:03:21] Guys, I see it. I see it.
JENNA FISCHER [01:03:23] Well, listen, I wanted to throw out a couple of tidbits that people sent in that I found really fun and interesting. These are both references to “The Convention” episode. So first off, Joe Subera told us the president of the University of Scranton used “Ain’t no party like a Scranton party” in his commencement addresses and that it has become the unofficial motto of the University of Scranton. And of course, “The Convention” is the episode where we first hear that.
ANGELA KINSEY [01:03:54] That’s fantastic.
JENNA FISCHER [01:03:55] OK. So second, you remember the scene where Michael meets Jerome Bettis, the football player?
ANGELA KINSEY [01:04:01] Mmhmm.
JENNA FISCHER [01:04:01] And he thinks that he has the nickname The Bus because he always traveled by bus and he’s afraid to fly.
ANGELA KINSEY [01:04:07] Right.
JENNA FISCHER [01:04:07] But of course, the reason he has that nickname is because people would pile on top of him and he would just keep moving.
ANGELA KINSEY [01:04:13] Right.
JENNA FISCHER [01:04:14] He could carry a bunch of people.
ANGELA KINSEY [01:04:16] Right. On the football field. Yes.
JENNA FISCHER [01:04:17] Yes, exactly. So a bunch of people wrote in Carly Mitchell, Kyle Gensler and Paul Marshall all said, “Michael got his NFL members mixed up. John Madden was known for being afraid to fly and only took the bus to games, but did not have the nickname The Bus”. But that is a true thing about John Madden.
ANGELA KINSEY [01:04:42] Oh, I didn’t know that.
JENNA FISCHER [01:04:43] OK, so I looked this up and I found an article from the L.A. Times. It’s from July of 1988, but this is what it says. It says, “There are 3,753 busses in the Greyhound line Trailways fleet, but only one is famous. That one is called the Madden Cruiser. It is the vehicle in which John Madden, one of the nation’s best known football analysts and broadcasters, rides around the country from game to game. It says that he’s no longer willing to fly because he suffers from claustrophobia and he has not boarded a plane since 1979”.
ANGELA KINSEY [01:05:22] Wow. I wonder if that’s still the case.
JENNA FISCHER [01:05:25] I don’t know. It said he used to travel by train, but he had more freedom traveling by bus. So, yeah.
ANGELA KINSEY [01:05:35] So this is classic Michael, where he had one part, one sort of like story from one football player mixing with another one.
JENNA FISCHER [01:05:44] Yes, exactly. Well, here’s something crazy. Angela, I don’t know how he gets around today, but this bus was on display at the Pro Football Hall of Fame as recently as 2018. Like you could tour it.
ANGELA KINSEY [01:05:59] This is like the Lisa Marie plane at Graceland.
JENNA FISCHER [01:06:03] Oh, yeah.
ANGELA KINSEY [01:06:04] Yeah.
JENNA FISCHER [01:06:04] I’ve been to Graceland.
ANGELA KINSEY [01:06:06] I have too.
JENNA FISCHER [01:06:07] Yeah.
ANGELA KINSEY [01:06:08] I didn’t go inside. I just saw it from outside.
JENNA FISCHER [01:06:09] Oh, we went inside.
ANGELA KINSEY [01:06:11] Well, there was a really long line.
JENNA FISCHER [01:06:12] Were you thinking there wouldn’t be?
ANGELA KINSEY [01:06:15] Jenna, I was in my 20s. I was driving cross-country. I was like, oh, my God, wait. Elvis Presley lives near here. Let’s go see.
JENNA FISCHER [01:06:21] Oh, yeah. This was when I was a kid. My mom would find all these vacations for us to go on that were in driving distance of St. Louis. So one year we drove to Memphis and we toured all kinds of stuff. I remember we went to a museum and we saw this very interesting exhibit on King Tut. And then the other thing we did was we toured Graceland. So we, we planned it all out.
ANGELA KINSEY [01:06:42] Well, I was driving with a girlfriend of mine because we were driving cross-country and she was moving and we pulled in. There was a huge line. But in the parking lot was the plane. So I saw the plane, but I haven’t been inside Graceland. Oh, in your 20s, when you plan nothing, you guys. All right.
JENNA FISCHER [01:07:04] Yes. Exactly.
ANGELA KINSEY [01:07:04] Well, Jenna, I saw that we got a lot of mail about “Grief Counseling” and our bird tragedies we talked about.
JENNA FISCHER [01:07:13] Yes, so many people witnessed terrible bird tragedies the same week as our podcast.
ANGELA KINSEY [01:07:20] I know it was kind of wild, wasn’t it?
JENNA FISCHER [01:07:22] Yes.
ANGELA KINSEY [01:07:23] It’s pretty wild. So this one really got me. Kayla Lawless wrote in and said she hit a bird with her car while listening to the podcast for “Grief Counseling”.
JENNA FISCHER [01:07:35] Oh, my God.
ANGELA KINSEY [01:07:35] That’s the first time she’s ever hit a bird in her life. And she was listening to us talk about a bird funeral. And then she hit a bird.
JENNA FISCHER [01:07:43] Oh, my God. I don’t know how to feel about that.
ANGELA KINSEY [01:07:46] Kayla. I’m so sorry.
JENNA FISCHER [01:07:47] You know what’s weird? I am not seeing any more bird deaths. Are you?
ANGELA KINSEY [01:07:52] No, it’s like it’s too hot and they’re just like, uh.
JENNA FISCHER [01:07:56] Yeah. My problem now is mosquitoes.
ANGELA KINSEY [01:07:57] Jenna. I got eaten up the other night.
JENNA FISCHER [01:08:00] Yeah.
ANGELA KINSEY [01:08:00] Like the kids and I are sitting and like comparing notes like, oh, I have four on this leg. Oh I have two over here.
JENNA FISCHER [01:08:05] I got this amazing candle that’s like all natural.
ANGELA KINSEY [01:08:10] Are you gonna get me one? Are you gonna get your BFF one? Does it keep the mosquitoes away?
JENNA FISCHER [01:08:13] Yes. And it’s in a little bucket with a handle. So like, you know, because you move around outside. So I just move it with us and keep it nearby and it seems to be working.
ANGELA KINSEY [01:08:24] OK. I want one.
JENNA FISCHER [01:08:26] All right. I’ll send you one.
ANGELA KINSEY [01:08:27] My friends growing up, my Aussie friends growing up, would always say all the mozzies are out. See any mozzies?
JENNA FISCHER [01:08:34] The mozzies. Did that sound authentic?
ANGELA KINSEY [01:08:38] Eh.
JENNA FISCHER [01:08:38] Were you like, wait a second. Jenna, are you from Austrailia?
ANGELA KINSEY [01:08:42] Holy crap.
JENNA FISCHER [01:08:44] The mozzies are out.
ANGELA KINSEY [01:08:44] Ah, the Mozzies. Well, before we go, you guys, I want you to know that since my BFF, Jenna, did not know what frisbee golf was, otherwise known as frolf. Would you like to go frolfing?
JENNA FISCHER [01:08:58] Yeah.
ANGELA KINSEY [01:08:59] Guess what I’ve decided to do? I’m gonna have an “Office Ladies” frisbee!
JENNA FISCHER [01:09:07] Oh no.
ANGELA KINSEY [01:09:09] Yeah. And, you know, because I love to chunk it. I going to have them put “Chunk It” on it.
JENNA FISCHER [01:09:13] What? This is a double trolling.
ANGELA KINSEY [01:09:17] Double trolling.
JENNA FISCHER [01:09:18] It’s a “Chunk It” Frisbee.
ANGELA KINSEY [01:09:21] And then we’ve got to go frolfing.
JENNA FISCHER [01:09:23] OK.
ANGELA KINSEY [01:09:25] We can socially distance frolf, lady.
JENNA FISCHER [01:09:28] We can. And I would love to. We have a lot of assignments. We have to drink rosé and watch “Look Who’s Talking”.
ANGELA KINSEY [01:09:35] Yes.
JENNA FISCHER [01:09:35] We have to go on a boat at some point and we have to-.
ANGELA KINSEY [01:09:39] Frolf.
JENNA FISCHER [01:09:40] We have to frolf with our “Chunk It ‘Office Ladies’ frisbee”. OK. I like it. [Pig latin].
ANGELA KINSEY [01:09:50] How can you do that, but you can’t like even attempt an Australian accent? I don’t know what she’s saying. She’s talking about some kind of obby lobbies.
JENNA FISCHER [01:10:04] But how do you say mosquito again?
ANGELA KINSEY [01:10:07] Mozzies.
JENNA FISCHER [01:10:09] [Pig Latin] How about how about that?
ANGELA KINSEY [01:10:14] [Gibberish].
JENNA FISCHER [01:10:14] Well, thank you guys for sending in all your questions. We had a really fun time going through those. We hope you like the episode today.
ANGELA KINSEY [01:10:20] And thank you so much to Dave Rogers, that was such a fun interview.
JENNA FISCHER [01:10:23] And we will keep posting your “Heartbreaks in the Break Room”. Look for them over on OfficeLadiesPod on Instagram.
ANGELA KINSEY [01:10:30] Yes. You guys were to try to post more because you’re also sending in really fun fan art and all kinds of things. So we’re going to step it up.
JENNA FISCHER [01:10:39] Yes, we will step it up. And next week, is “Business School”.
ANGELA KINSEY [01:10:48] “Business School”. Ah.
JENNA FISCHER [01:10:48] A.k.a. Pam’s art show.
ANGELA KINSEY [01:10:48] Pam’s art show.
JENNA FISCHER [01:10:50] Talk about a heartbreaker. Well, as we leave you today, I really want to play this song. You know, I love bluegrass.
ANGELA KINSEY [01:10:58] Yes.
JENNA FISCHER [01:10:58] This is a bluegrass version of “Heartbreak in the Break Room” from Jay Zair from Harrisonburg, Virginia. Thank you, Jay.
ANGELA KINSEY [01:11:05] See you guys next week.
JENNA FISCHER [01:11:06] See you next week.
JAY ZAIR [01:11:08] [Jay Zair play “Heart Break in the Break Room”]
ANGELA KINSEY [01:12:47] Thank you for listening to “Office Ladies”. “Office Ladies” is produced by Earwolf, Jenna Fischer and Angela Kinsey.
JENNA FISCHER [01:12:54] Our producer is Codi Fischer, our sound engineer is Sam Kieffer and our associate producer is Aynsely Bubbico.
ANGELA KINSEY [01:13:00] Our theme song is “Rubber Tree” by Creed Bratton.
JENNA FISCHER [01:13:03] For ad free versions of “Office Ladies”, go to StitcherPremium.com. For a free one month trial of Stitcher Premium, use code “office”.