Office Ladies - Revisited w/ Dave Rogers

Episode Date: September 16, 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. If you want to start your own Frolf team, get your official Office Ladies Frisbee here https://www.podswag.com/collections/office-ladies-frisbees

I'm Jenna Fisher. And I'm Angela Kinsey. We were on The Office together. And we're best friends. And now we're doing the Ultimate Office rewatch podcast just for you. 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. We're The Office, ladies. Hello, everyone. Hello. Welcome to another revisited deep dive episode of Office, ladies. Yes, you guys, you heard my lady friend. Today we are going back over the first half of season three 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 going to try. So that's basically everything from gay witch hunt to benihana Christmas. Yes. Now, Angela, we're calling it a revisited deep dive. We did one of these with Ken Kuapas, 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. I love it. I love it. What, what? 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. Oh, that is perfect. I love it. That is so good. Second drink. 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. Yes. And Angela, I want you to listen to this sweet note that we got about Dave from Angela Newman. Okay. She wrote in, she said, I got to meet Dave Rogers. 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. Oh my gosh. Well, that is just the Dave that we know, Jenna. He is just so lovely like that. Yes. 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 we're super, super excited. 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, I know what it is, biggest faux pas so far in this podcast. I just, I want to get it over with. Do it. Okay. I am calling this. This really made me laugh, by the way. All the comments really cracked me up. So you guys, thank you. I am calling this revisited fast fact number one. I'm going to really shit the bed on the plot of Locuz talking. I got it like totally wrong.

Well, and I was no help because I haven't seen it. So I was like, oh no way. You guys remember at the beginning of the merger, Michael is pretending to do a bit based on Locuz 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 a lot. There were a lot. But Sarah Elliott, Liano Brian, Rebecca Gernet, 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 sent this message. They didn't have a one night stand. He wasn't the dad. No, he got her to the hospital and

then just somehow hung around. Well, I'm afraid now I'm afraid because I don't get it wrong again. But somehow I believe he goes in the hospital with her. I don't I should check. Lady, this is such a 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 rose for myself, I guess over zoom. And you and I are going to watch this movie together. It's a BFF date. Oh, lady, I'm so excited for it. We will watch. Look who's talking together. And we will bring you our discoveries. Yes, I love it. Okay, well, Jenna, if that was your revisited fast fact number one, are you ready for my fast fact number two? Yes.

I said we'd never been on a boat before. Oh, of course, we've been on a boat. We've been on a big old honking boat. Those crews. Yeah, those crews, lady. I mean, we were on a boat for three days together. Yeah, we got the news that you were going to be a series regular while on a boat together while on a boat. Now, listen, it was docked for two days. 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, I think that's why it went in my brain like that. We've never been recreational boating. Yes, that's it. Exactly. 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 LaCouse talking, because then that would just check all the boxes. Well, then one of our husbands better be driving. Oh, dear. 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. All right. Well, revisited fast fact number three is good news. This is not a mess up. This is a triumph. Oh, yes. And that triumph is heartbreak in the break room. Oh my gosh, you guys. We discussed Pam's hunchy posture, her sexy hand at 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, holy waka moly. 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 office ladies pod, you know, our Instagram. And I just want you guys to know side note. Um, I saw one time someone commented like, Oh, you know, maybe your team post these things. Uh, no team. It's just me and Jenna. Oh, yeah. There's no team behind our Instagram guys. It's us. We are a two lady show here. Um, 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. Well, lady, I have a surprise. What? Okay. You know, Rhett Miller from the old 97s is an old friend of mine. 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? You have way cool friends, Angela. I have one or two. But, but, but Rhett is definitely one of yours. 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. Yes. And you guys, it is fan flip and tastic. Sam, can you play the song?

Heartbreak in the Break Room. Tears on your cheeks. This was not the reunion you'd been dreaming of for weeks. You heard the bell toll. You did not know. Heartbreak in the Break Room. Don't pull your heart out to the coffee machine. Discard your dreams in the recycling. You should have known better than to wear your sexier sweater. Heartbreak in the Break Room. Lump in your throat. Well, you floated it out there, but it didn't even float. The music was playing. The world set its tune. Heartbreak in the Break Room. Heartbreak in the Break Room. Heartbreak in the Break Room. Maybe that's why they call it a break room. Maybe that's why they call it a break room. Heartbreak in the Break Room. Tears on your cheeks. This was not the reunion you'd been dreaming of

for weeks. Well, you heard the bell toll. You did not know for who. Heartbreak in the Break Room. Heartbreak in the Break Room. I mean, we were rocking out in our perspective closets the whole time. That's so dang good. I love it so much. So, here's how I met Rhett. Rhett knew rain somehow and rain brought Rhett to set. Well, rain loves music. I feel like he's he's like a real active. Oh, yeah. Rain'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 rain 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 97s

that I'm a huge fan of? He was like, it's that one. And I was like, that's cool. Yeah, I'll play it cool. I'll go do this video with Rhett and 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 on the set of the office. Yes. Can we post it? Can we post it? Oh my gosh. So here's what we'll do. We will post his song and Office Ladies pod. And then in our stories, I'll post a link to this

YouTube video. Oh my God. 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. Wait, what? 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. Oh, anyone? Anyone? I wore that. Remember the construction boots, but like girls wore them with like jeans shorts. And like, like a top. I remember this look. Yeah. And he was like singing on a 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. I'm like, I'm a blur. I'm a blip. It's

like you barely can see me. Guess what the song was? What? It's very catchy. It went a little something like this. If I could make a million out of loving you, I'd be a millionaire in a week or two. I'd be doing what I love and love and what I do if I can make a million out of loving you. I love this. This is a great song. Yes. So we were both in a music video. I mean, you're a little bit more legitimately in the music video. I mean, I was like an extra in my construction boots. It all counts. 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 IT Stage It. And there's information on his Twitter at Rhett Miller, R-H-E-T-T-M-I-L-L-E-R. And you can probably request Heartbreak in the Break Room, Rhett.

Oh, please do. Please request it. Please do. Also, the old 97s 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. Holy cow, Rhett. I think you might need a few more office ladies in your videos. 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 TVs. It's like a little Easter egg, but we love you, Rhett. 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. 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.

Dave Rogers, thank you so much. We are so delighted to see you. I'm so excited to see you guys. It's been a little while. I feel like I just saw you yesterday because I watch the show constantly and I've spent probably more time watching you guys than anybody else in the universe. 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. Yeah, I watched 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, 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 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 and, you know, yeah. 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. Wow, that's a lot of pressure. I gotta say at one point, I didn't know the show better than anybody, but it's been a few years and 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 check on that and stuff like that. 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. I'm excited. Should we do a deep dive with Dave Rogers? Deep dive. Well, Dave, the first thing we always like to ask people is how did they come to get their job on the office? 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. I love News Radio. I love News Radio. I cut the clip show for Seinfeld. So if you ever watched the hour long clip 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 Zabornak. Wow, Kent's a pedia. Yeah. So Kent was a line producer and we always stayed in touch and 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 and 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, okay. And I watched the pilot and I was like, and I hadn't seen the British version of the show. I hadn't, 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, cringy 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 that, how he could turn on a don. You're like, you know, just even in that scene with this, 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, you know, the original building down, down off Los Yenaga and Jefferson, the season one location. Yeah, yeah.

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 I said, I could see Dwight having a Battlestar Galactic Viper on his desk. Like Star Trek was too mainstream and cool for Dwight. Wait, were you, did you plant the seed for Battlestar Galactica for Dwight as a character? I do take that. I have been credited with that. That's amazing. Oh my gosh. And then at about the time, like season one, I think actually probably season, season two, I think the new Galactica had started airing. So that's, that's 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. Wow. This is a deep dive. Oh man. I didn't even know there was an old versus new Galactica. Oh my gosh. That's how out of the loop I am. I disappointed you. Jenna. Oh no. I'm really sad. You're embarrassing yourself right now. Oh my god. 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 Catherine Himoff who edited the pilot. And she did, 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. Wow. Okay. 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? 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? 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 Angelo 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 times it takes a few takes to really get in. But sometimes, you know, you get that magic of the first take to little things. But then I'll just throw it into the, the timeline.

And I'll lay it in. And then it's a question of like, Okay, what beats this? What, what, what part is better? You know, because you can lay in a whole take and then 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, you're looking for, you know, reactions, and you're looking for, you know, even all to 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, you lay it in and, 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, 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 on the, you know, we're on one angle, then we go to the other, we can pull, pull stuff up. Or if there was a pause in dialogue, I can cut to a reaction and I can bring the audio in a little earlier, just to, you know, pace things up a little bit. But, but overall, it was just, you know, just looking what, 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. I remember being on set, and we would do a 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, Vada. So you would get those from Vada, 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? 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 have said, like, circle this, like, you know, Dwight said this here, 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, 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 say this 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 had the candy bag where we would have all these alts and things like that, you know. I know that we would spend one week shooting the episode. How long did you have to edit an episode? Editors don't have production hours. We wouldn't come in at like five a.m. or six a.m. to get makeup and hair and all that. We roll in at like 10, 1030. I remember. You know, maybe settle in with a good game of Call of Duty. And then we start attacking the dailies. But then you're there until like midnight or 10 o'clock at night. Yeah. Yeah. As we would get

deeper into the series, and if we needed to lock an 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 after, you know, 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, okay, 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. I feel like our sound engineer, Sam Kever, right now is listening and being like, Oh, I know. Oh, I know. Cause we do, we chat for, for a bit. And Sam has to go through all of it. 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 re-edit 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? We 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 was like five days, like 12 hours, you know, 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 you remember 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 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 it would 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 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 and the network, we were all just trying to make the best show. I remember being on set and there'd be times where Greg would

say, Hey, can we get Dave Rogers on set because they were shooting a scene and they needed you, your editor's eye on the set because they wanted your opinion about, Okay, 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. Greg always talks about how he, he brought all the worlds together. Like he brought writers onto that, 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 going to shoot later? So, I mean, it wasn't, it 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.

It really did. Yeah, it really did. 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? Exactly. I've never met them. I don't know them. I've tried to kind of pop in to the edit base, the way we used to come and pop into yours. And they seem confused. 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 going to go in there and lose our shit, because we saw a scene to, 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 have never seen a showrunner

facilitate that kind of warmth and inclusion with a crew and cast and writing staff the way Greg did. 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 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'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 that sign. Pretzel Day, Pretzel Day, they were all down your hallway. Michael Scott Paper Company was

our, I mean, our bathroom and that doorway there, you know, those were, you know, we're right down the hall from caffeine corner. So anytime we shot like at the warehouse or in the parking lot, you know, the cast would come in and hang out. And we always, listen, 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. 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're really like the gatekeeper, because I would see stuff before anybody else would. And so I could communicate, especially, you know, you 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 could 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 what you guys would hang out like in between takes and just sit on the couch. And, you know, we would just just chat away. I know Jen 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, you know, just to 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? That actually brings up a good point. People have asked, you know, the mythology of Greg Daniels, does he AB things a lot? Does he have different versions? And it's like, yes, he does. And ABing 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, okay, is this better or is

this better? Is this better or is this better? It's so minimal. It's such a minimal difference. And so Greg, you know, we would, we would always like have, especially like in the early seasons, you know, the pilot season one, 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, you know, first it'd be like, oh, let's bring in the writers. But then he wanted like a wider array of people. So 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, you know, creatives, so to speak, to look at it. And I remember we were, we were editing season one, we were out of our,

out of the stages where we were at, you know, out of that building and we were like editing in 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? What do you think of this? Like, yeah, good, good. You know, he wanted, he didn't know if to slap it, but you know, when Mindy slap 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 pull 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 pitched songs and then it got narrowed down. I had to cut like 21 different versions of the main title. Like, you had a song, you had a song. This was, you know, because 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. The song. Yeah. Sorry, Dave. John Krzysko, 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 now that was, you know,

I pitched modest mouth, like we'll all float on. Okay. Do you remember that song? Yeah. Yes. I think it was being used by like the CW or something. It was, it was. Oh my gosh, Dave, you are just like a walking treasure. 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? 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. Okay. 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 somebody say, Oh, it was a, 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's 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 lab. 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. Yeah. And Jake oust, 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 that someone grabbed the wrong, you know, master. But yeah, that was, that was one of those things that were where we had different versions. Listen, there are there were, you know, different versions of the shows that we've locked there. You know, there was there was one episode.

Lice was one of these episodes where I think I started editing it and then Claire Scanlon 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 the show just ended at the end of the episode with Meredith, bald Meredith, taking, you know, asking Pam to go get a drink. And I was like, wait, what what happened to the bar, then go to the bar and sharing a moment and singing. And so I and after the mix, I came back to work. And, you know, I said, Hey, Greg, 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 don't you take a look and see? I just

felt like there was 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 to be 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 what pieces I lost. But I felt like ultimately it was a better episode to see Meredith and Pam bonding at this bar. Yeah. Oh, Dave. Thank you. From me personally, doing that scene was in the bar was one of my favorite moments on the show. And I just think I would have been so heartbroken if if that had not made it. 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 Nikki Schwartz had a, you know, she was home sick and she got a DVD that said locked, you know, episodes. She was like, Wait a minute, I already got the locked episode. And she watched it. 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 was like the one time where I really unlocked something and and and and, you know, made a change like that. Well, I want to ask you about improvisation. What was it like for you to deal with all of our

improvisation as an editor? It was great. There's no difference to me between improvisation or scripted stuff. And whatever was funniest one. 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. Who improvised the most, Dave? Or who are some of the people who improvise most often? All of you guys, I think, you know, once

we got comfortable with, you know, especially once we shot the takes that we needed, I think I felt like all of you guys were were the best improvisers. And you could see when when we'd get guest cast come in, who could improvise and who you know, who was 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. I felt like everybody just had the the chops, they were all ready to go. I think, you know, if anything, sometimes people would would crack up. Listen, I have, I have, you know, the audition tapes and the screen test. And that there's a screen to I don't even think this is on the DVDs, 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 used my coffee mug, he's like, I don't think it was me. He's like, because there was chocolate milk in it. And and just that he's like, and you're the only one who drinks chocolate milk and rain is cracking. But like Steve managed to break rain for a couple seconds. And it's just during the audition, 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 rain goes best friends. And then and Michael's well, you know, friendly. And 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. We have a fan question that I think people are going to be really excited to hear about. Okay. They wanted to know if you had any go to cast members when you needed a reaction. I love I love going to Leslie anytime I could get, you know, Stanley, you know, give it an eye roll. You know, that was always fantastic. Phyllis, you know, I'm a listen, I'm a fan of everybody. So it was like, well, whoever whoever was appropriate, Kevin, you know,

there were times actually here, this is this is kind of an interesting thing, which isn't so much going to reaction shop. But, you know, we would we would do this kind of thing that started, we would do too often at first, where somebody would say something the camera would push in a little, then they'd say something again, the camera would push in a lot. And I think I feel like the cameras love this like kind of trick we would do, but they started doing it a lot very early and and often. And it was like, wait, nothing has, you know, substantiated that like not it hasn't earned this like in this scene. And I remember one time Kevin was saying something and you're 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 should 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 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 the end 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 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 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. Well, to be fair, Angela is very tiny. And it must be hard to hold her in a shot with some of these very tall actors on our show. We do have a lot of tall actors, like all these I've gone on set and you know, Rain was super tall, Creed, John was like a giant, you know. Yeah, Brian's so tall. A lot of the Dwight and Angela big moments, he's seated and I'm standing. Yeah. 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?

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 just zipping around. It's like when you have a big bullpen scene. And it's like, okay, we're catching this person and this person, it's not the cameras aren't static. I mean, 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 really feel like that they were working like a documentary. I mean, that was challenging. You know, the chaos 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 to seeing all the stuff, all the action and see, 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. Clara 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 polish pass with Greg on the first half and Claire did the second half. And then we combined 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 Greg was smart. Did you take anything from the set when we wrapped? So I have two things 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 the director of ARM, I got to choose which Galactica, which version of the Galactica we would use. And Rain signed it for me. He said, David, Galactica loves you, or Rainn Wilson Dwight. And so I have this Galactica. This is the one that Philip, Philip looks at the Galactica the same way I do. So I have that. And I have something, uh, I think you said, uh, that somebody took the sign from the lobby. I have the backup one. Oh, that is awesome. Oh my God, that's fantastic. Yeah. 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 the wall, um, that was the backup one. Fantastic. Listen, I can gush. I, I mean, I love you guys. I love you guys. I love the cast. I hope that was, I think that was known on the, on the set. I was just such 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, your best, 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,

was Zach Woods. I mean, anybody, even the new, even the new guys, when they came on Clark and, you know, Jake, when they came on, you know, anybody 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, you know, to reassure them, Hey, you guys are doing good work. You're doing good work. It's really funny. It's working. No, Dave, we loved you so much. Oh, Dave, thank you so much for coming today to talk to us. This was so great. Thanks, Dave. You have to come back. I would love to come back any time. All right, Dave. Bye, Dave. Bye, guys. All right, we are back. Thank you, Dave. Again, thank you. I mean, amazing. 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. Well, Angela, where should we begin? I know where you want to begin. I need to desperately begin with Clementine Paddleford. Yes, we called her Clementine Paddleford, but we have come to learn that her name is pronounced Clementine. Yes. And her close friends called her Clem. That was her nickname. But guys, I, I hate to tell you this is not all we've learned about her. We both listened to a podcast about her life. It's an amazing podcast, Jenna, called Fierce. Yeah, it tells the stories of forgotten women in history that changed the world. And Clementine Paddleford was their first episode. Yes, you can find it. I think it's on iHeart. Fierce. Fantastic podcast series. So we listened to

that. And then I read some fantastic articles about her. One of the ones I loved was by Linda Rodriguez McRobie and it's featured on mentalfloss.com. It is so good. I might have to do a swipe up to it in Insta story, Jenna. It's really great. Tell us what you learned, Angela. 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. 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% the basis of food writing today. Yes. If you think of someone like Anthony Bourdain, 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 too fast enough. So she learned how to fly a plane. Yes. She could fly herself around. I thought that was so badass. 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. Incredible. Such a passion. She's an incredible woman, you guys. And by the way, she, her article on Benihana is why Benihana blew up. 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. My husband bought it for me and I'm getting it. I'm getting it. My gosh. That's amazing. 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 miss Jenna. First off,

when Michael enters riding the bike, Christie G, Lauren S, Colin 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? Well, Angela, I went to look this up in the show Bible. But guess what? What? My show Bible only goes through season six. Oh, no, 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. So what? We got to hit up Greg. I did a little digging. Okay. And it's true.

In season seven, episode five, 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 ScreenRant 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 Benny Hanna, Angela, the thing about your sisters, like how many sisters do you really have? Right. All that kind of stuff. Basically, guys, I just have to say good catch. Yeah. Well, there's going to be a few things. One of my favorites, which we'll get to, is that

the senator has a son. When I meet him, he has a son, and we never see that kid again. What happened? Yeah. That's right. Out in the hay. Well, we also forgot to mention the whole runner with the bath robes in Benny Hanna 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. 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.

Yes, like a blue terry cloth bathrobe that said the office on it. I still wear it. My dog ate a hole in the sleeve, but I won't give it up. I still wear it. It's so cozy. I still have mine too. It's like really wearing a blanket. 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 like longingly wishing he had one. Yes, exactly. Well, we had a fan catch from Brooke Beagle in Benny Hanna Christmas at 14 minutes 32 seconds. You can see a poster for Happening's magazine right behind Kevin. Is that a real local Scranton magazine? Yes. Happening's magazine was founded in 1969 and its purpose was to encourage people to travel

between Scranton and Wilkes-Berry for different cultural events. And in 2004, they even created an online version. Guys, both the print version and online version exist today. You can find them today at happeningsmagazinepa.com. 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. I love local newsletters. I subscribe to my town's local newsletter. My grandmother wrote a column for the newspaper called Around the Town. It was just stuff happening around the town. It was just what was happening, you know, around the town. Yeah. Sounds very similar to Happening's magazine.

Yes. My grandmother probably would have loved Happening's magazine. Okay. Well, Jenna, I would like to discuss a few deleted scenes that I think really give us some fun information about some characters. Oh, go. 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. Meaning that like Creed is not his given name. It's just the name he got in prison. 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. Oh my God. Pruno. That actually made my stomach turn when you said ketchup. It's so disgusting. I mean, it started with toilet. And then it went full circle when you said ketchup. Creed making pruno. Well, this is interesting because that would be at odds with the booze crews 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. 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 that it didn't matter. Yes. Because you never know if Creed's telling the truth or not. It's such a fun character to write for. 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. Yes. Well, for me, it's Phyllis. I can't get enough of her.

So there is this deleted moment between Pam and Phyllis and 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. Like what Dave was saying. Yeah. 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.

It's not a cluster? 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. 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. They did not have her ring yet. That is that is clearly. And it makes sense that she would have a big old diamond from Bob Vance, a Vance refrigeration. Yes. Oh. Oh, I wish they'd kept that in. Yeah. And it's really fun. It's really cute. She's so, so proud of it. All right. Well, Angela, now people have a gripe with us.

What do we do? It's about our assessment of Wishiwashi, Jim. Oh, well, I thought that might be coming. Crystal Nichols wrote in to say, I don't think Jim is Wishiwashi, nor does he opam an explanation about Karen. Amy Durham agrees. Pam flirted with Jim and established intimacy with him for seasons one through three,

but then always went home to Roy. Oh, well, that's there's some truth there. Bronte 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 Wishiwashi. Pam, her Wishiwashi-ness to me was like another level because she was engaged in living with someone. And I know her heart was like falling for Jim, and she was having sort of almost like this emotional affair. But she was 100% having an emotional affair. 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 really hard. This is the Star Cross Lovers story. Well, we have a final thought from Randall Robertson who wrote this. I'm coming to the defense of Jim being Wishiwashi. 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 Wishiwashi. Randall Robertson, that was amazing. And it's true, we were too hard on Jim. Randall, that last line, when you have no heart to give anyone, all you get is Wishiwashi. Yeah.

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? Yes. Emily Zaloum says 100% Oscar outed Oscar, to which Caitlin 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. So Toby saying Oscar hopes he can count on you. To be discreet. Means, I guess, that maybe 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. I don't buy it. I don't think Oscar would trust Michael with anything about his personal life. You know what, even more, I think Toby has to be like, okay, 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. Well, gosh, now I think they're, now I think they're right. Oh my goodness. The more you're talking, now I'm like, oh, oh yeah, Toby had to say something and Oscar was like, okay, well, if you tell him, it's okay.

Guys, I see it, I see it. 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 Cerbera 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. That's fantastic. Okay, so second, you remember the scene where Michael meets Jerome Bettis, the football player, and he thinks that he has the nickname the bus

because he always traveled by bus and he's afraid to fly. Right. But of course, the reason he has that nickname is because people would pile on top of him and he would just keep moving. Right. He could carry a bunch of people. Right.

On the football field. Yes. 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. Oh, I didn't know that. Okay, so I looked this up and I found an article from the LA Times. It's from July of 1988. Okay. But this is what it says.

It says, there are 3,750 buses 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. Wow, I wonder if that's still the case. I don't know. It said he used to travel by train, but he had more freedom traveling by bus. So, yeah. So this is classic Michael,

where he had one part, one sort of like story from one football player mixing with another one. 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.

This is like the Lisa Marie plane at Graceland. Oh, yeah. Yeah. I've been to Graceland. I have too. Yeah. Well, I didn't go inside. I just saw it from outside.

Oh, we went inside. Well, there was a really long line. Were you thinking there wouldn't be? 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. 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 planned it all out.

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. Yeah, exactly.

Well, Jenna, I saw that we got a lot of mail about grief counseling and our bird tragedies we talked about. Yes. So many people witnessed terrible bird tragedies the same week as our podcast. I know. It was kind of wild, wasn't it? Yes.

It was 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. Oh, my God. 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.

Oh, my God. I don't know how to feel about that. Kayla, I'm so sorry. You know what's weird? I am not seeing any more bird deaths. Are you? No, it's like it's too hot. And they're just like, ugh.

Yeah, my problem now is mosquitoes. Jenna, I got eaten up the other night. 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. I got this amazing candle that's like all natural. Are you going to get me one? Are you going to get your BFF one?

Does it keep the mosquitoes away? 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. Okay, I want one. All right, I'll send you one.

My friends growing up, my Aussie friends growing up, would always say, oh, the Aussies are out. So many Aussies. The Aussies. They sound authentic. Were you like, wait a second, Jenna, are you from Australia? Yeah, holy crap. Yeah, the Aussies are out.

Oh, the Aussies. 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 frulf. Would you like to go frothing? Yeah, guess what I've decided to do? I am going to have an office ladies Frisbee. Oh, no.

Yeah, and you know, because I love to chunk it. I'm going to have them put chunk it on it. What? This is a double trolling. It's double trolling. It's a chunk it Frisbee. And then we've got to go frothing. Okay, we can socially distance frulf, lady.

We can. And I would love to. We have a lot of assignments. We have to drink rosé and watch LaCouche talking. Yes. We have to go on a boat at some point and we have to frulf. We have to frulf with our chunk it office ladies Frisbee. Okay, I like it.

How can you do that? But you can't like even attempt an Australian accent. Well, I don't know what she's saying. She's talking about some kind of obby lobbies. How do you say mosquito again? On mazzies. Mubble lobbies. How about that?

How about a mubble? 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. And thank you so much to Dave Rogers. That was such a fun interview. And we will keep posting your heartbreaks in the break room. Look for them over on office ladies pod on Instagram.

Yes, you guys, we're going 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. Yes, we will step it up. And next week is. Business school. Okay, Pam's art show.

Pam's art show. Talk about a heartbreaker. Well, as we leave you today, I really want to play this song. You know, I love bluegrass. Yes. This is a bluegrass version of heartbreak in the break room from Jay Zaire from Harrisonburg, Virginia. Thank you, Jay.

See you guys next week. See you next week. Okay, kids, suspend your disbelief and pretend this is being sung by the vivacious Jenna Fisher. Or as the Amish say, Ms. Jopinavi Fabishavard. Mama's sexy sweater can't make my man love me. He found a hussy on the slow train from Philadelphia. I'm feeling mighty hunchy, just like Creed on LSD.

Heartbreak in the break room, my Dunder Mifflin destiny. Heartbreak in the break room, a pimple everyone can see. I'll drown my sorrows in mixed berry yogurt, and it's all gonna be on TV. I wish that that would please come back and end my misery. Heartbreak in the break room, it's as hard as hard can be. That's what she said. Heartbreak in the break room, heartbreak in the break room. Thank you for listening to Office Ladies.

Office Ladies is produced by Irwin, Jenna Fisher, and Angela Kinsey. Our producer is Cody Fisher. Our sound engineer is Sam Kieffer. And our associate producer is Ainsley Bubakow. Our theme song is Rubber Tree by Creed Bratton. For ad-free versions of Office Ladies, go to StitcherPremium.com. For a free one-month trial of Stitcher Premium, use code, OFFICE.