January 18, 2022 • 53 mins
They say two Brians are better than one… Brian [Baumgartner] sits down with The Office boom operator Brian [Wittle] to talk about the soothing sounds of the show, the uncomfortable positions it took to get those sounds, and Brian Wittle’s namesake character with a bad rap for meddling in true love.
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Speaker 1 (00:01):
Look for your children's eyes and you will discover the
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I'll be sitting down with the world's most inspiring minds
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listen to the Luminary Original podcast. Guys, we've starting January
(01:09):
one on the I Heart Radio app, Apple Podcasts or
wherever you get your podcasts. My name is Brian Whittle,
and I was the boom operator and sometimes sound mixer
and one time actor on the Office. Well, hello everybody,
(01:37):
and thank you for joining us once again here at
the Office Deep Dive. As always, I am your host,
Brian Baumgartner. This week's guest. This is this is cool,
okay one, He's the greatest, all right. In fact, he
is so great that the writers on the Office actually
named a character after him. Do you remember the boom
(01:58):
operator in season Mine, that guy, the one who almost
broke up Jim and Pam. Yep, that's our guy. Well,
that's our guy's name. Today's guest is Brian Whittle. Now,
to be fair, although the real Brian was also the
boom operator for the Office, he did anything but cause
(02:19):
any workplace drama. No, Brian is a gym and he's
known as one of the best in the business. He
did an impossible thing for many. He mastered the art
of mockumentary sound dealing with the long takes on the office,
dodging crazy camera angles, and he participated in the many
(02:40):
sound on sound off debates on set. Now Boom operators
are known for their ability to soak up all of
the stories. Remember they're hearing everything, you guys. Brian is
not one to disappoint Today he is here to talk
about the art of leaning in to imperfection, Steve Correll's
(03:02):
Silent Airport goodbye, and well, of course, his notorious namesake
on the show, Bryan Whittle. This really is a special one.
I won't keep you waiting as our residents sound guy.
Brian has done enough of that over the years, so
please give a warm welcome to the incredible Brian Whittle.
(03:28):
Bubble and Squeak. I love Bubble and Squeak on Bubble
and Squeaker cook at every month lift over from the
night before? Hello, check, check check? How do I sound? Five? Four?
(04:00):
Read to one? He sounds great and exactly the same
as always, Brian. How are you good? Good? How are
you doing? Brian? Oh my gosh, it's so good to
see you. We spent a lot of time in type
quarters together. We really really did. How's everybody you're surviving.
(04:20):
You're good healthy, Yeah, yeah, I'm doing really well. My
kids they're right down the hall. They promised to be
quiet to understand the importance of South. Yeah, definitely. So
things are going well, things really well. I'm so happy
to talk to you. There's well. I mean, there was
(04:41):
eventually a very important character on the Office named after you.
We'll talk about that. How did you get into sound?
What was your journey for for getting into sound? My
journey for getting into sound was basically, well, I moved
here with the idea that I think that a lot
of people think that they're gonna be Steven Spielberg. But
(05:02):
I was a little too irresponsible to follow that path,
so I uh so I ended up doing sound, which
was actually still really awesome. And basically I came here.
I had a friend named Jeff Haley, who is now
a very famous steady cam operator, who was doing sound.
The person I actually grew up with back in Pennsylvania,
and he was doing sound, so he helped me get
(05:24):
into it. I got on this movie called Ed with
Matt le Blanc from Friends and back in the mid nineties,
and that movie was a non union movie that then
struck and turned union and so I got very lucky.
I got in the Union right away. Uh. And then
shortly after that, I met Ben Patrick, who was Jeff's friend.
(05:46):
He was just starting out to doing sound, but he
was already a mixer, and he, uh, we did. We
did a bunch of really low budget, really horrible, awful,
hundred dollar a day, you know, crap movies for a
couple of years. But I was already in the Union,
and I just didn't know anybody, uh in the age
back then there was still a lot of non union
(06:07):
movies you could do. Nowadays, that isn't the case anymore.
But you know, I just made phone calls and met
more people, and uh eventually met a guy named Forest
Williams who was doing a lot of spelling projects, and
so I got on those and I basically did spelling
shows Melrose Place nine O two and oh oh, not
spelling bees. I didn't. Just that guy, Yeah, yeah, just him.
(06:35):
And I did a bunch of his shows until about
until basically up until I got on the office, you know.
And then from then on I was like, okay, half
hour comedy, it's the way to go. Did Ben Patrick
bring you onto the office? He did? He did and
uh not until the very beginning of the third season.
He tried to during the second season. But during the
(06:56):
second season, and you probably remember this, they didn't have
a full order for the whole show. They would say, like,
what we're gonna do two episodes? Oh we got three more,
Oh we got two more. And he kept kept calling me.
He's like, come over, come over, come over, because they
kept the boom operators kept quitting on the Office. This
was so hard, you know, because you would do like
forty and fifty minute takes. That's a long time to
(07:19):
put your arms up you or to be crammed in
a corner, or to be you know, hiding under something
or you know, contorting your body in these weird positions.
But they just didn't have a fore order. But then
when the third season came around, they had a fo order.
They gave me a great offer. And The Office at
the time was my favorite show. So to get a
call to go work on your favorite show for a
(07:41):
full season for a really good raid, I was like, hell, yeah,
I'm on my way. So you were a fan of
the show, watched the first I watched it before I
worked on it. Yeah, So him calling you were like,
let's go. So what was it like showing up there
then for the first time on a show that you're
a fan of, and it sounds like you have done
mostly drawing muz stuff before. You don't want to cross
(08:02):
spelling drama. Yeah, so nighttime so gas, which we're pouring
as hell. Yeah yeah, yeah. That was my main bread
and butter up until then, which was still fun, but
this I knew it was going to be way more fun.
And also it was with Ben, who was one of
my closest friends, right, so yeah, I remember, right, I
was very excited and uh it was gay. Witch Hunt
(08:25):
was the first episode of season three, which to this
day is probably my favorite episode, and it was incredible,
you know, because you get to see It's like when
you watch a show and you're a fan of it
and then you go visit the set and you see
the set and you see that that line, you know,
between your experience of just being a fan and now
suddenly you're like, you know, behind the curtain and seeing
(08:47):
how it all gets put together. So it was great
and uh, I was ecstatic to be there. So you
you were hired at the beginning of season three, did
you note anything right, away about the set and how
your job might be a little more challenging on this
show than something before. No, I mean, the only thing
I thought would be more challenging is just the way
(09:09):
it was shot, you know, two handheld cameras and just
with constant resetting of each scene that we're doing. We
run through it, reset, run through it, reset. And if
you remember, we shot on tape, you know, we had
these Sony nine hundreds where you actually put like a
videotape inside the thing, and I believe they were fifty
four minutes long. So that was probably the scariest thing
(09:32):
to me, was like, oh my god, we might roll
for fifty four minutes. You know. It was like no
longer on the sixth boom Operator in two seasons. So
I was like, I hope I can do this now,
do you? Did you have to do anything like work out?
Kind of? Yeah? I started like, do made doing more
with push ups and going to the gym, which I
(09:53):
already did, but I just, you know, kind of did
it more. And I never thought of like my job
as being something I had to keep in shape for
until I got to the office, you know. But the
thing was, it was so much fun that you just
didn't feel the pain until afterwards, you know, right, So
to tell people your job as the boom operator, talk
(10:17):
people through what that would mean like we're in the
conference room physically, what described what what that would be like.
The conference room is a unique situation which I'm sure
everyone you've talked to so far has attested to. But basically,
when Nick would be there too, Nick Carbone, who was
the other boom operator and the person who put everybody's
(10:39):
mics on, so he would generally get whoever seated, you know,
So we'd both be back on the right side wall,
and I would usually be in I'd be in the
middle of the room along one of the windows, and
I'd be reaching out for Steve usually or whoever was
addressing the crowd, and I'd usually get him. And then
whoever sat towards the front, which was usually Dwight, he
(10:59):
sat over by the door kind of right, and whoever
else would coming out of the door. So I would
be reaching out and getting all those people, and then
Nick would be back at the other other side. But
I have to cram against the wall. Yeah, so he's
showing me. So he's got both hands above his head.
He is holding this mike, which is is not particularly heavy.
(11:20):
It's made to try to be as light as possible.
But most shows you how about I don't know, forty
five minutes of lighting set up and then you shoot
for about ten minutes. And we always joked that our
show was the reverse, right. It would set up for
ten minutes, try not to make the lighting all that beautiful,
(11:43):
and then we would shoot for forty five minutes. So you,
over the course of the day are I don't know,
twelve to fourteen times doing thirty to forty five minute
runs with both of your hands above your head. Yeah,
it was really challenging, to say the least. Um, what
a lot of people have talked about is how confined
(12:07):
the space is much more confined than a normal show. Obviously,
on a lot of shows their walls that you can
move from our initial pilot show, which was a room
that could not be moved because it was actually production officers.
It was a real room. When we moved to the
sound stage, it was completely reconstructed exactly the same way,
(12:30):
except I think Greg allowed like eighteen inches in the
conference room. It was like eighteen inches wide for someone
to stand after the side camera or yeah, but we
were all in there in a very small space, especially
when we had fourteen sixteen cast members or whatever in
(12:52):
the room, the two of you, two cameras, I mean,
very very confined space. Yeah, that's actually in that room.
Or if we had say a lot of people in
Steve's office for example, you know, that would be even
more confined. Or back in like a corner of the annex,
or in the break room where sometimes I would have
(13:15):
to lay up on top of those vending machines that
are in it. Oh, that's right there. Scenes where I
would lay up there and boom from up there from
just laying on my side on like a ferny pad
or something. Or I would at least be tucked in
the corner standing on an apple box with that and
it's full extension and I can't have no weight behind
me to leverage or anything. So it's really you know,
(13:35):
it's like tipping you over. Yeah. The other thing that
it's become kind of my go to joke on set,
the camera takes forever to get set, the lighting and
anytime there's a lighting adjustment or like a camera adjustment,
it's totally okay, it's totally appropriate everybody stops respectfully and
(13:57):
they do their word. When something happens with sound to
the end of the world, it's like, immediately everyone gets
so angry. Yeah right, like if you, oh, look, we
need to make an adjustment on Steve's top, Everyone's like,
(14:17):
oh yeah, I know. I don't know where that came
from or why it is that way, but it is
that way. It's universal every set. It's universal across all
shows of all time. How does that make you feel?
Is it aggravating? Oh yeah, it used to make me mad,
you know, and used to make me, i don't know,
(14:38):
hurt my feelings or whatever. And I'm like, hey, this
is just as important as ever. We can't shoot unless
we do this, so it's it's it's important. But nowadays
it's just it's just funny, you know. And you know,
I've been doing this a long time, and so you
just tell them, hey, look we gotta fix it. Do
you want do you want the sound or not? You know?
Well that as you know, that has become my joke.
(15:01):
Now it's set, which I just try to exaggerate it
because it makes me laugh. I'll just go waiting on sound,
waiting on sound. Everybody remember when we used to say, uh,
you're getting carboned because of Nick, because you would have
to come in and fix the people's mics, and we'd
be like, oh, we're getting carboned. Yes, we're getting carbone
(15:25):
and yeah. He always made him very nervous. He did
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(18:40):
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(19:01):
sound good. You can find this new podcast, Ridiculous Crime,
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Apple podcast, or wherever you get your podcast. I don't
know how you live Ridiculous Crime. I mean, in terms
(19:25):
of the working environment, being a fan of the show
coming on, did you have any other impressions of I
don't know, other people that you were working with, greg
Or or the cast specifically. Oh, yeah, Well, I mean
there's a lot of things that were awesome about working
on that show. And I mean it's hard to honestly
talk about that show without getting emotional because it was
such a incredible, just amazing experience. And I think one
(19:51):
real big thing is that everybody who worked there was
a fan of the show. Everybody who was there love
to the show and cheered and rooted for the show
and to be successful. And we all looked forward to Thursday,
you know, at eight o'clock. That's when it was on, right,
eight o'clock back then when you watch TV, when it
was on, you know, everybody looked forward to it being on.
And I can remember that website office tally right. Yeah,
(20:15):
So on Thursday nights at like five o'clock, it's eight
o'clock back East, but we were all on set and
we would all start checking our phones and going on
because all those computers in the bullpen were real and
you could go online, go to office tally and start
seeing the comments from all the fans from all over
the country. That was exciting, you know, to be part
of something that that many people loved and and cheered for,
(20:39):
you know, so that I've never experienced anything like that
on a show before, you know, where everybody there loved it,
because usually half the crew hates it and half the
crew is like, I'm gonna be here, it sucks. How
long are we going to be here? I never felt
like that on the office ever, no matter how long
the day was, no matter if even if we were
remember towards the end, we were working on like Saturdays,
(20:59):
and I think we worked on a Sunday and I
didn't care. It was so much fun that it just
you know, I didn't It didn't bother me at all. Yeah,
I think that is. I don't think you can overstate
enough how special and also unique that was, because you know,
I say the same thing and people always sort of
(21:21):
laugh when I say I'm a fan of the show,
Like it regardless of me or my role or any
of that. I shoot plenty of stuff that I don't
ever watch, and it's not because it's bad or because
I don't support it, or it's just I always feels
like weird to go back and watch because there's nothing
(21:42):
I can do. The Office was different because just I
was a fan of the show. It wasn't like, you know,
even though I was there from the beginning, I just
I just love the show. And having the crew also
believe so strongly in what we were doing, Um, I
think made a huge difference. Yeah, no, totally, it does.
(22:03):
It makes a huge difference. And I think a lot
of that came from Greg, because you know, Greg really
embraced the crew and really appreciated them and saw them
as a humongous part. I mean he let people go
to the table read. You know, I remember going to
the table reads and then be packed. And prior to that,
the table read was like a secret meeting that no
(22:24):
one was allowed to know about and and or talk about.
It was like treated like it was this big secret.
But on the Office everybody went. You know, if you
could fit in the room, you could go. He would
even let whoever is there. You read this part, and
you read this little part, you'd be that, like the
little day player parts that hadn't been assigned yet to anybody.
And I understand why he wanted an audience for the
(22:47):
have the script read an audience outside of just the
writers that wrote it and the actors. You want to
gauge like how many laughs you get, And that's really
smart in terms of getting feedback for the initial script.
It also makes the crew feel like a bigger part
of the show that I got to watch the evolution
of an episode from the table read to watching it
(23:09):
on TV, and I never had that experience before. Yeah,
no one has brought that up, but I think that's
a really good point. I think that there's a there's
a preciousness that we did not have on that show.
So what I mean by that is I think that
show runners bosses are trying to protect writers and if
(23:31):
if something doesn't quite work, they want to let them
work that out almost in private or in as you know,
ass to private as possible with people reading it. And
in that aspect it becomes way more presentational in a way,
even even the delivery of an episode becomes much more presentational.
As opposed to collaborative. And I feel like what you're
(23:54):
saying is really true. No one's talked about that, but yeah,
the table reads were totally open. It was completely open
to it, as you said, as many people who could
actually just fit into Yeah, and at first or like
thinking they're gonna kick me out here? Am I allowed
to be in here? And like because I would really
love to watch this if I can? You know? So, Yes,
it helps. It helps the camaraderie on the on the set,
(24:17):
I don't know, it just makes it makes the experience
a lot more fulfilling. Yeah. The other thing that it
does is it begins to get your creative energy or
your thought sooner as well. Right, I mean, you know,
sound was used quite a bit as a as a
tangible object on our show because because of the way
(24:39):
we shot it and this documentary slash mockumentary style. How
did that affect your job that aspect of how the
show was shot? Well, I mean we we wired everybody
for the most part, mostly as backup or if let's
say we were in the bullpen and we're gonna zoom
over to accounting, which is you know, generally the farthest
(25:00):
away corner. You know, I can't swing over there and
and boom obviously. Basically, yeah, honestly, it started the trend
of having to wire every actor on set all the time,
because every show that I've worked on since The Office,
that's what they do. And prior to the Office, we
basically never wired anyone unless it was a really wide
(25:20):
shot or like a walk and talk down some narrow hallway,
or you know, there was some physical reason why we
couldn't boom it. But because of the Office, it became
the norm. In fact, we had to buy a whole
new recording system called a Diva sixteen that would have
sixteen tracks on it so that we could put all
the actors on their own tracks. It really it started
this big thing. And then when they started up Parks
(25:42):
and Wreck, the guys from there came over to see
what we were doing so they could set it up
on that show. Similar with Modern Family and like all
the other shows that were kind of inspired by our show,
you know, they needed to do this sound the same way.
And so from then on, I can a every single
show I've done, I have to have a multi track
(26:03):
recorder with a mix on one track, and every individual
actor on their own track after that, and it was
never like that prior to the office. So that's one
thing we did to accommodate the documentary thing that ended
up being a trend. Right. It's so funny you bring
that up. I think, as you say, it was a progression,
(26:24):
and I think that there were sometimes I thought about
this in the years. There were sometimes when you thought, oh,
they're not going over to accounting, They're not going to
swing over to accounting on this thing, and sure enough
they would bomb Garter would open his trap. Oh yeah,
But I would keep my eye on you, See, I
would want you. I could tell after a while like Okay,
(26:47):
I know what's going to happen here, Like because after
a while I didn't even memorize the scenes anymore. Like
I just would read them once in the morning and
be like, Okay, I got it, and just watch people's faces.
Or i'd watch Matt, you know, interact with you. Or
I could just tell from the dialogue like Okay, Kevin's
definitely gonna react to this, you know. And so I
would tell Ben in the mic, would be like, hey, Ben,
(27:09):
Kevin's ambably gonna do something after this, you know. Or
John is going to do something or whatever, and uh,
you know, after a while we had it down and
we could just kind of predict and it was fun
what was going to happen? Yeah, No, but I it
reminded me of just sometimes maybe we would do, you know,
a final rehearsal or do the first take, and then
here here would Carbone would come in and we wiring
(27:33):
me up when it was not not an expected moment. Yeah,
I would tell him like, get in there and wire
and something's going to happen. Yeah. So one thing I
wanted to talk to you about significant sound moments on
the show and what I mean by that, we affectionately
call it sound or no sound, and a couple of
(27:55):
moments that that stick out. One is the proposal I
remember to me and Pam. Now, were you a part
of that discussion. I don't think it was a big
part of it, but I do remember Greg asking me
my opinion. First of all, I've heard the original story
from Dave Rogers, who I think just on a fluke.
He just showed him a version of it. He's like, oh,
(28:15):
we could do it like this, and then he played
it for him with no sound, and then it turned
into this like huge week long or two week long thing,
this big debate, we're gonna do this sound or not.
But my opinion was whether or not you use this
sound should be determined by how why the shot was.
I was like, look, if you're gonna play the proposal
and a big, giant, wide shot, then it won't be
(28:37):
such a big deal to not hear the sound, because
from a documentary point of view, the audience will think, well,
they're too far away, they didn't have their wires on
or whatever, and you're going to see the traffic front
of the thing, and you're gonna hear that and you
can tell what's going on. But if you're going to
be tight in and you don't have the sound, it's
gonna look like a mistake. So that was my feeling.
I was like, so, if you're showing their tight shots
(28:59):
or whatever, or or from the chest up, then you've
got to use the sound because otherwise it's just going
to be distracting and look weird. But I know ultimately
they went with the sound, and I know it was
like the decision was made at the last minute, and
if you talked to Eric Culjyn, he's there was the
post supervisor on that, and I still work with him
all the time, and I know he has the story
(29:20):
where he has both tapes, one in each hand and
they're like standing in front, like in front of Greg's
house or in front of the studio or somewhere They're like,
all right, dude, which one is it going to be?
We got to decide right now. I'm glad he decided
on the sound though. I think that was more satisfying
for the fans. Yeah. So, I've had a lot of
people talk to me about mistakes being okay, really leaning
(29:45):
into the realism of the characters that existed in this
real time and space in dunder Mifflin and not wanting
to have hair and makeup people sort of constantly coming
in and adjusting, you know, small pieces of hair or whatever.
Or was there anything in terms of sound that was
different on this show. Yeah, yeah, I mean, especially early on,
(30:08):
I think that they were more on board with that
idea earlier on in the show, and then as the
years went on, we maybe tried to perfect it a
little more, but certainly a boom could be in the shot,
and I think there are some moments in the second
and third season when you see the boom in the shot,
and people didn't necessarily have to be right on mike,
(30:28):
you know, or be perfectly miked. It could sound off,
or it could sound far away, especially if the person
was far away, you know, because on a scripted show,
well this was a scripted show, but on a real
scripted show, your job is to get everything perfectly and
clean and then let post decide do we want this
to sound far away? You know, and then they change
it and alter it to make it sound however they
(30:49):
want to creatively. But we were able to kind of
just do that in real time if okay, well we
didn't have enough time to mike him, and he's running
in from this, so we'll just I'll just queue the
boom over that way, and whatever it sounds like is
what it sounds like. So you definitely have more freedom
in that sense, right. Obviously, one of the huge moments
on the show Steve's final goodbye and him taking off
(31:15):
the mic to go into the airport. Can you talk
to me a little bit about that, how that was
achieved and and and your role in that. Sure, Well,
we we had, so Greg came over and we talked
about a couple of different ways to do it, and
we even discussed the possibility of Steve handing me the
pack and then I like show it to the camera
and turn it off and we watched the light flicker
(31:36):
off like sort of like a dramatic kind of thing.
We didn't do that, but we talked about it, and
then in a couple of takes, i know, Matt tiled
it down and you could see my hand come in
and him hand the mike to me when he takes
it off. Um, but that was it was this sad day.
You know. That whole period was just a blubber fest
(31:56):
for for everybody, you know, and then we had to
go through to again when the show ended two years later.
We all had to cry every day for a whole week. Yeah,
but yeah, that was that was a big day. You know.
It was sad emotionally and and just to be there
and I'm heat when you see him reach off camera
(32:17):
he hands it to me, so which is kind of
a neat moment. I'm like, he's handing that to me,
I'm standing right there and he's gone, and he's gone.
He walks out and you can still kind of hear
like muffled, you know. Airport noises which I presumably I
guess are for the boom. In a real world, you
would still hear the boom, and and you would hear
them a little bit too, although they were kind of
(32:37):
far away. But I still like what they did. You know,
to make it just more dramatic, I guess, yeah, what
grows in the forest trees? Sure you know what else
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and our family bonds grow too, because when we disconnect
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(34:02):
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can follow The Pink Moon Murders on the I Heart
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The way that our show was shot, and I think
(35:07):
part of it was the spontaneous way at times the
camera moved around, which then obviously made you have to
move around. I mean, I don't think gymnastics is an exaggeration.
I mean we talked already about you laying on top
of the vending machines to be able to get down,
but when the camera was gonna swing, you had to
swing out of the way so you wouldn't be in
(35:29):
the shot. No, I mean we we would call it
like a dance basically, and for the most part it
was just the three of us, just me and Matt
and Randall, and we're just like, Okay, you're gonna stand here.
Then I'm gonna stand here, and then he'll say this,
and you walk over here, and then he does this
and I walk over there, and then we would just
work out this dance and memorize it basically, and do
it three or four times. Then everybody, the real people
(35:51):
come in and then we do it like fifteen times
and then we move on to the next one. Yeah,
you know, it was super fun. And then sometimes I
could be there if they're whipping roomy, you can't tell
I'm there. You know, so there's probably lots of spots
on lots of episodes where I'm in the whip or
the other camera is in the whip, or Ken Kappas
is in the whip sitting in the corner at a
little monitor with Veda, you know. But I mean a
(36:15):
lot of times it was just the three of us
on that set, the only crew people there. You know.
Did that give you a closer or different relationship with
the actors than you've had on other shows. Yeah, yeah, definitely.
And I mean just the mirror situation of of all
of us being in that room all day for you know,
(36:40):
eight months or whatever it is. I mean, you spent
more time with each other than with our families and
our spouses, you know, and that that situation alone makes
you closer. Yeah, But also just the intimacy of of
the nature of how we shoot and the communication. You know,
it's like, okay, so you're gonna you're gonna be here,
and you and to walk here, and we gotta you know,
(37:01):
we just gotta stay out of each other's way and
let each other do our job so the scene can happen.
It isn't necessary to communicate that much on a on
a regular working set, you can kind of the hands
off and just do your job. But that wasn't necessarily
true on the office. You know, we kind of had
to really talk to each other. It's occurring to me
(37:21):
now maybe stronger sitting here talking with you again. I
don't recall any other job that I've had where without
talking to a director or a writer or a producer
that I would have conversations with sound you or camera
Matt or Randall and say, hey, I'm gonna do this,
(37:45):
make sure you have made right. That doesn't happen now
with you not saying like let me run that by
the director or no, we just we just did just
did it because we were going to do it a
million times. Anyway, it's occurring to me right now, how
dreams that is, I know, deciding our own rules as
it goes along. Yeah, And the energy of that is
(38:07):
really kind of intoxicating and fun. It just made it
so much fun to be there. Like I love watching
that opening. I think it's is the fourth season where
Ed is in the elevator and they're doing that song
that no no no no no no no opening the
fourth season. That day was so much fun and all
(38:28):
we did was that scene. We didn't do anything else
that day. I think we wrapped at two o'clock. This
that was so like, just to watch that is just god.
That was just a super super fun day and I
get that feeling a lot when I watched the show. Yeah,
and my kids watch it now too, which is great.
Oh they do. Yeah, my son's really into it. He's thirteen,
(38:48):
that sounds right, Yeah, and he's uh, he's definitely into it.
You know, we watched that in The Simpsons. Those are
two good choices that both stamped with Greg Daniels. Right,
that's true. So you appeared on the show as many
of our crew members did Customer Loyalty. You were a dad,
(39:09):
angry dad. I think we're annoyed sitting next to uh
to Pam there at CC's recital. How was that being
on camera for you? Are you glad you did it? Oh? Yeah,
that was super fun. And that stemmed from, you know,
the whole introducing the boom operator as a character and
bringing in Chris Diamond Topolis and me auditioning to play
(39:29):
myself and which I got to do. So I had
an audition in front of Greg and Alison Jones and
read with Jenni Fisher and you know, I'm not an actor,
but Greg really wanted me to do it, and and
I was like, well, I'll try it, you know, we'll
see how it goes. And uh, And they ultimately decided
(39:49):
to hire an actual actor, which is probably wise, but
sort of as a as a joke, I think to
the fans and as a thank you to me for
like going along with everything, they gave me a little
part in that same episode, the episode where they introduced him,
and oh it was great, you know, that's awesome. Yeah,
(40:10):
So you're Brian Whittle character on the show, real life
person the boom operator, as you said, played by Chris
Do you know how that idea came about? Where you
involved in discussions so you were asked to audition for it.
But when did you become aware that that was going
to be kind of a signature moment in the last season.
The writers have been talking about it for at least
(40:32):
a few weeks before that, maybe even a month. They
I think for a long time had wanted someone from
the crew to step through and be part of the show.
Why they chose the boom Operator, I don't know. I'm
imagining because if it had been a camera person, then
they have to have a moment where they put down
the camera or hand the camera to someone and they
walked over, so they'd be like that sort of interruption
(40:52):
in the screen. But I think they thought, well, the
boom that I could just walk on and it wouldn't
be wouldn't disrupt anything, you know, So maybe that's why
they picked him. But yeah, they were talking for a
long time about what the story was going to be,
how he was going to be, what he was going
to be about, and they would mention it to me
on the set, you know, all we're upstairs talking about
you and what what's gonna happen with your thing and
(41:13):
so and then eventually, uh, they figured it out and
they wrote out some scripts and Greg asked me to
audition for it. You told me after the office you
you worked with Chris Damnontopolis on Silicon Valley. Did you
teach him how to hold the boom? Or were there
aspects of of you know, of him creating that character
(41:33):
that you talked to him in that moment or now, yeah,
I mean I just told him. He actually had like
a different rig on. He had what's called an E
n G set up which a documentary person would have,
you know, the thing you wear on your shoulder that
you see news people have or sports people, and uh,
I just, you know, just showed him how to wear
it and how to how to hold it, so it
looked like he knew what he was doing. I don't
(41:55):
think there were too many shots of him actually working
as a sound man. He just stuff and came in,
so it wasn't super important. But but yeah, he was cool.
How do you feel about the fact that it was you,
your name, that you know, tried to ruin one of
the greatest love stories in television history. I mean, how
does that make you feel today? Uh? It makes me
(42:17):
feel great because I got to be I have a
character named after me on the show. You could have
been the most evil person there. It's still cool. That's awesome. Um. Yeah.
Since The Office, you've done a lot of work with
Mindy Kaling. Right, have you worked on the Mendy Project,
Sex Lies of College Girls? You have another little show
(42:38):
called Champions that lasted for one season. We did that
one also, right, you enjoy working with her? Yeah, it's
been great. We did I think six five or six
seasons of the Mindy Project. And that's where I got
to move up to sound mixer. So that was great
because I don't have to hold the boom over my
head anymore. And then we went right into her championship
after that, and then I did Yeah, I did Sex
(43:00):
Lives last year, the pilot, but I've done some of
Jenna's shows too, and or just I did Splitting Up
together with Jenna. I love when our crew. There's nothing
like it showing up somewhere and there's the guys. Um. Anyway,
do you have any any favorite moments from the set
(43:20):
of the Office that you remember? Favorite moments? Um, Yeah,
I have a bunch. I mean, the hardest I ever
laughed and I broke all the time on set. Probably
the same for many is the Christmas episode where you're
sitting on Steve lap Yeah, I mean he's like, just
say some toys. Just say some toys. I mean that,
(43:42):
And plus I have the boom over my head, so
I'm like this and I'm in a really uncomfortable physical
position and it's way out, really long. I have the
boom over the two of you and and everybody, everybody
is breaking all over the whole bullpen, and oh god,
it was so funny it is, and I'm like shaking
(44:04):
and trying to hold this thing not drop it. Well,
I realized that you were probably the only other person
that could hear, because you had the mics on and
you were there booming it. But I've said to people afterward,
everyone who was laughing, they don't even know the half
of it, because there was a sound that he made,
very small that the mics obviously could pick up. But
(44:27):
at the moment I sat down, he made this sound,
and it slayed me every time. Now, were you were
you really like sitting on his lap putting all your
weight on him, or were you kind of like but
by the way, and I just did this for some
other dumb bit too. He looked at me after and
(44:50):
he's like, it's not even heavy. It's not when you
see on someone's life. It is not that. I promise
next time I see you, I'm gonna sit on your
lap and we're gonna we're gonna try it out. But
he was like, no, it's not that. But oh no,
he he made it seem like it was oh he
sure did. Well, yeah, who wouldn't. I mean, that's that
(45:12):
you got to do that? He did. I mean he
nailed it. It was it was perfect. He nailed most everything. Yeah,
he really did. He was amazing. You mentioned it before
the tears of the finale, when you found out that
the show was ending. How was that for you? Well,
we all, I think we suspected it was coming, and uh,
(45:33):
you might have been there when that time. Gregg came
onto the bus. Remember we were shooting on that bus
and he stepped on and he said, Hey, I just
want to tell you guys, it's going to be announced
on deadline in like ten minutes. He's like, just so
you hear it from me, this is gonna be our
last season. And then he made a comment because there
were still several episodes left, and he made a comment.
(45:53):
He's like, so he says, now that we know this
early on, we can really savor it, right, which was
a really a great way to look at it, because
it was sad, but it was like, Okay, at least
we know now it's not gonna be abrupt and we're
just gonna you know, like some some shows you're like, oh,
we're done, go home, right, you know, and but but
on this show, it's like we knew, Okay, we've got
five sick whatever was left episodes and we can really
(46:17):
just come into work every day and really just love it,
you know, until it's over. Yeah, but yeah, it was sad.
It was Sam and you were there, you remember. It
was like every time we're on the set's like, oh
my god, this is the last time we're going to
shoot in the annex with this person's ending here and this,
and then we did. Then every setup was like, this
is the last time we're doing this scenario and this
(46:38):
is the last time we're doing this right, and it
just it was just went on and on and every
scene someone would break and just be like fourteen days
also like shooting the finale, and right that finale we
actually went to a ton of weird locations. There was
(46:58):
the Arm and there was Kevin's Bar, and there was
like the Q and a thing and you know, all
these weird locations which we never did. And so it
was like we were away for like seven eight days
and then we went back and kind of did you know,
the very end um to finish it off, which I
think was always a great idea. It was it was
(47:20):
right up till the end, right up to the ends,
like to the rap party, like it was like it
was we went to the rap party right after we
rapped on Saturday that we were like two hours late.
We relate to own. That sounds like us. It sounds
like us. Um, listen, I love so much of what
(47:42):
you have talked to me about today and the unique
collaboration that we had between the cast and the crew
and the writers and the producers, and is really a
key ingredient I think to why the show is endured
and how it's thrived now seven eight years later. Um,
I'll ask you what I've asked everyone. Why do you
(48:03):
think the show now is bigger than it was when
we were working on it? What do you think the
secret sauces Um. Well, the main reason is is that
it's funny. But the sort of unifying reason is I
think it's just because it's it's just very real while
at the same time being outlandish. You know, everybody has
(48:25):
these weird people they work with, and you know, these
people that can be blown up into caricatures, and that's
what this show does. It just blows up these people
you already know into the weird people that you sort
of make fun of them for already, whether they're that
extreme or not. And I think everybody connects with that. Also,
there's just nothing else like it right now probably and
(48:46):
there never will be again. TV is totally different now.
We don't have twenty six episodes, and it's not on
at the same time, and we don't all watch it
together as a country, and it's just, you know, it's
just a very different thing. And that was like maybe
the last really great, great television show of that era.
And uh, I think that's my people love it. Brian,
Thank you so much. It's so good to see you.
(49:10):
Thanks for coming and talking to me, and uh, and
you will live forever Brian Whittle, the man who tried
to break up Jim and Pam, ladies and gentlemen. Thanks buddy, sure,
thank you. It's a great time. Brian, thank you so much.
(49:39):
And I truly meant what I said. You will live
forever both as Brian Whittle the character, but also you
the real Brian Whittle office lum sound genius and the
boom operator who didn't break up one couple, not even one.
(50:00):
You broke up nobody, my friend. So thank you for
coming on. And of course this isn't the end. I
will be back next week for another episode of the
Office Deep Dive. This one well with another love interest
of Pam actually, David Denman a k A. Roy Get
(50:20):
excited and of course uh coming soon my new podcast
Off the Beat, More stories, more memories, more everything. I'm
going to miss you this week, all right, I hope
you'll miss me, but know that I will see you soon.
(50:42):
The Office Deep Dive is hosted and executive produced by
me Brian Baumgartner, alongside our executive producer Langley. Our producers
are Emily Carr and Diego Tapia, and our intern is
Hannah Harris. Our theme song Bubble and Squeak, performed by
my great friend Creep Rotten, and the episode was mixed
by seth Olandsky. Yeah, adoption of teens from foster care
(51:26):
is a topic not enough people know about, and we're
here to change that. I'm April Didn't, the host of
the new podcast Navigating Adoption presented by adopt us Kids.
Each episode brings you compelling, real life adoption stories told
by the families that lived them, with commentary from experts.
Visit adopt us Kids dot org, slash podcast, or subscribe
to Navigating Adoption presented by adopt us Kids, brought to
(51:48):
you by the U S Department of Health and Human Services,
Administration for Children and Families, and the Act Council. Hey,
it's de Liefa. I'm here to tell you about my
brand new podcast, deer Lipa At your service. I'll be
sitting down with the world's most inspiring minds to uncover
what makes them tick and what they've learned from the
obstacles life has thrown at them, including Sir Elton John.
After a lot of upsets, a lot of disappointments, a
(52:11):
lot of betrayals, It's turned out to be the most
wonderful life right now that I've could ever imagined. Listen
to do Relief at your Service on the I Heart
Radio app, Apple Podcasts, or wherever you get your podcasts. Hello,
and welcome to our show. I'm Zoie de Chanelle and
I'm so excited to be joined by my friends and
cats Meats, Hannah Simone and Lamar and Morris to recap
(52:33):
our hit television series New Girl. Join us every Monday
on the Welcome to Our Show podcast, where we'll share
behind the scenes stories of your favorite New Girl episodes.
Each week, we answer all your burnie questions, like is
there really a bear? In every episode of New Girl, Plus,
you'll hear hilarious stories like this that was one of
your things you brought back from Hot Yeah because all
(52:53):
professional passtby players seven pop Yeah. Listen to the Welcome
to Our Show podcast on the I Heart Radio app,
Apple podcast, or wherever you get your podcasts
Look for your children's eyes and you will discover the
true magic of a forest. Find a forest near you
and start exploring it. Discover the forest dot Org. Brought
to you by the United States Forest Service and the
AD Council. Hey, it's de Lieper. I'm here to tell
you about my brand new podcast, Relief at Your Service.
I'll be sitting down with the world's most inspiring minds
(00:23):
to uncover what makes them tick and what they've learned
from the obstacles life has thrown at them, including Sir
Elton John. After a lot of upsets, a lot of disappointments,
a lot of betrayals, It's turned out to be the
most wonderful life right now that I've could ever imagined.
Listen to do Relief at Your Service on the I
Heart Radio app, Apple Podcasts, or wherever you get your podcasts. Hello,
(00:46):
this is Christina Hutchinson and Karin Fisher. We're thrilled to
announce that our show, Guys with the Anti flut Shaming
Podcast is returning to wide release. That's right, every Friday,
we talked to one of our favorite comedians or an
expert in the field of sexuality, love and relationships to
hear what all the fos are about. Subscribe now and
listen to the Luminary Original podcast. Guys, we've starting January
(01:09):
one on the I Heart Radio app, Apple Podcasts or
wherever you get your podcasts. My name is Brian Whittle,
and I was the boom operator and sometimes sound mixer
and one time actor on the Office. Well, hello everybody,
(01:37):
and thank you for joining us once again here at
the Office Deep Dive. As always, I am your host,
Brian Baumgartner. This week's guest. This is this is cool,
okay one, He's the greatest, all right. In fact, he
is so great that the writers on the Office actually
named a character after him. Do you remember the boom
(01:58):
operator in season Mine, that guy, the one who almost
broke up Jim and Pam. Yep, that's our guy. Well,
that's our guy's name. Today's guest is Brian Whittle. Now,
to be fair, although the real Brian was also the
boom operator for the Office, he did anything but cause
(02:19):
any workplace drama. No, Brian is a gym and he's
known as one of the best in the business. He
did an impossible thing for many. He mastered the art
of mockumentary sound dealing with the long takes on the office,
dodging crazy camera angles, and he participated in the many
(02:40):
sound on sound off debates on set. Now Boom operators
are known for their ability to soak up all of
the stories. Remember they're hearing everything, you guys. Brian is
not one to disappoint Today he is here to talk
about the art of leaning in to imperfection, Steve Correll's
(03:02):
Silent Airport goodbye, and well, of course, his notorious namesake
on the show, Bryan Whittle. This really is a special one.
I won't keep you waiting as our residents sound guy.
Brian has done enough of that over the years, so
please give a warm welcome to the incredible Brian Whittle.
(03:28):
Bubble and Squeak. I love Bubble and Squeak on Bubble
and Squeaker cook at every month lift over from the
night before? Hello, check, check check? How do I sound? Five? Four?
(04:00):
Read to one? He sounds great and exactly the same
as always, Brian. How are you good? Good? How are
you doing? Brian? Oh my gosh, it's so good to
see you. We spent a lot of time in type
quarters together. We really really did. How's everybody you're surviving.
(04:20):
You're good healthy, Yeah, yeah, I'm doing really well. My
kids they're right down the hall. They promised to be
quiet to understand the importance of South. Yeah, definitely. So
things are going well, things really well. I'm so happy
to talk to you. There's well. I mean, there was
(04:41):
eventually a very important character on the Office named after you.
We'll talk about that. How did you get into sound?
What was your journey for for getting into sound? My
journey for getting into sound was basically, well, I moved
here with the idea that I think that a lot
of people think that they're gonna be Steven Spielberg. But
(05:02):
I was a little too irresponsible to follow that path,
so I uh so I ended up doing sound, which
was actually still really awesome. And basically I came here.
I had a friend named Jeff Haley, who is now
a very famous steady cam operator, who was doing sound.
The person I actually grew up with back in Pennsylvania,
and he was doing sound, so he helped me get
(05:24):
into it. I got on this movie called Ed with
Matt le Blanc from Friends and back in the mid nineties,
and that movie was a non union movie that then
struck and turned union and so I got very lucky.
I got in the Union right away. Uh. And then
shortly after that, I met Ben Patrick, who was Jeff's friend.
(05:46):
He was just starting out to doing sound, but he
was already a mixer, and he, uh, we did. We
did a bunch of really low budget, really horrible, awful,
hundred dollar a day, you know, crap movies for a
couple of years. But I was already in the Union,
and I just didn't know anybody, uh in the age
back then there was still a lot of non union
(06:07):
movies you could do. Nowadays, that isn't the case anymore.
But you know, I just made phone calls and met
more people, and uh eventually met a guy named Forest
Williams who was doing a lot of spelling projects, and
so I got on those and I basically did spelling
shows Melrose Place nine O two and oh oh, not
spelling bees. I didn't. Just that guy, Yeah, yeah, just him.
(06:35):
And I did a bunch of his shows until about
until basically up until I got on the office, you know.
And then from then on I was like, okay, half
hour comedy, it's the way to go. Did Ben Patrick
bring you onto the office? He did? He did and
uh not until the very beginning of the third season.
He tried to during the second season. But during the
(06:56):
second season, and you probably remember this, they didn't have
a full order for the whole show. They would say, like,
what we're gonna do two episodes? Oh we got three more,
Oh we got two more. And he kept kept calling me.
He's like, come over, come over, come over, because they
kept the boom operators kept quitting on the Office. This
was so hard, you know, because you would do like
forty and fifty minute takes. That's a long time to
(07:19):
put your arms up you or to be crammed in
a corner, or to be you know, hiding under something
or you know, contorting your body in these weird positions.
But they just didn't have a fore order. But then
when the third season came around, they had a fo order.
They gave me a great offer. And The Office at
the time was my favorite show. So to get a
call to go work on your favorite show for a
(07:41):
full season for a really good raid, I was like, hell, yeah,
I'm on my way. So you were a fan of
the show, watched the first I watched it before I
worked on it. Yeah, So him calling you were like,
let's go. So what was it like showing up there
then for the first time on a show that you're
a fan of, and it sounds like you have done
mostly drawing muz stuff before. You don't want to cross
(08:02):
spelling drama. Yeah, so nighttime so gas, which we're pouring
as hell. Yeah yeah, yeah. That was my main bread
and butter up until then, which was still fun, but
this I knew it was going to be way more fun.
And also it was with Ben, who was one of
my closest friends, right, so yeah, I remember, right, I
was very excited and uh it was gay. Witch Hunt
(08:25):
was the first episode of season three, which to this
day is probably my favorite episode, and it was incredible,
you know, because you get to see It's like when
you watch a show and you're a fan of it
and then you go visit the set and you see
the set and you see that that line, you know,
between your experience of just being a fan and now
suddenly you're like, you know, behind the curtain and seeing
(08:47):
how it all gets put together. So it was great
and uh, I was ecstatic to be there. So you
you were hired at the beginning of season three, did
you note anything right, away about the set and how
your job might be a little more challenging on this
show than something before. No, I mean, the only thing
I thought would be more challenging is just the way
(09:09):
it was shot, you know, two handheld cameras and just
with constant resetting of each scene that we're doing. We
run through it, reset, run through it, reset. And if
you remember, we shot on tape, you know, we had
these Sony nine hundreds where you actually put like a
videotape inside the thing, and I believe they were fifty
four minutes long. So that was probably the scariest thing
(09:32):
to me, was like, oh my god, we might roll
for fifty four minutes. You know. It was like no
longer on the sixth boom Operator in two seasons. So
I was like, I hope I can do this now,
do you? Did you have to do anything like work out?
Kind of? Yeah? I started like, do made doing more
with push ups and going to the gym, which I
(09:53):
already did, but I just, you know, kind of did
it more. And I never thought of like my job
as being something I had to keep in shape for
until I got to the office, you know. But the
thing was, it was so much fun that you just
didn't feel the pain until afterwards, you know, right, So
to tell people your job as the boom operator, talk
(10:17):
people through what that would mean like we're in the
conference room physically, what described what what that would be like.
The conference room is a unique situation which I'm sure
everyone you've talked to so far has attested to. But basically,
when Nick would be there too, Nick Carbone, who was
the other boom operator and the person who put everybody's
(10:39):
mics on, so he would generally get whoever seated, you know,
So we'd both be back on the right side wall,
and I would usually be in I'd be in the
middle of the room along one of the windows, and
I'd be reaching out for Steve usually or whoever was
addressing the crowd, and I'd usually get him. And then
whoever sat towards the front, which was usually Dwight, he
(10:59):
sat over by the door kind of right, and whoever
else would coming out of the door. So I would
be reaching out and getting all those people, and then
Nick would be back at the other other side. But
I have to cram against the wall. Yeah, so he's
showing me. So he's got both hands above his head.
He is holding this mike, which is is not particularly heavy.
(11:20):
It's made to try to be as light as possible.
But most shows you how about I don't know, forty
five minutes of lighting set up and then you shoot
for about ten minutes. And we always joked that our
show was the reverse, right. It would set up for
ten minutes, try not to make the lighting all that beautiful,
(11:43):
and then we would shoot for forty five minutes. So you,
over the course of the day are I don't know,
twelve to fourteen times doing thirty to forty five minute
runs with both of your hands above your head. Yeah,
it was really challenging, to say the least. Um, what
a lot of people have talked about is how confined
(12:07):
the space is much more confined than a normal show. Obviously,
on a lot of shows their walls that you can
move from our initial pilot show, which was a room
that could not be moved because it was actually production officers.
It was a real room. When we moved to the
sound stage, it was completely reconstructed exactly the same way,
(12:30):
except I think Greg allowed like eighteen inches in the
conference room. It was like eighteen inches wide for someone
to stand after the side camera or yeah, but we
were all in there in a very small space, especially
when we had fourteen sixteen cast members or whatever in
(12:52):
the room, the two of you, two cameras, I mean,
very very confined space. Yeah, that's actually in that room.
Or if we had say a lot of people in
Steve's office for example, you know, that would be even
more confined. Or back in like a corner of the annex,
or in the break room where sometimes I would have
(13:15):
to lay up on top of those vending machines that
are in it. Oh, that's right there. Scenes where I
would lay up there and boom from up there from
just laying on my side on like a ferny pad
or something. Or I would at least be tucked in
the corner standing on an apple box with that and
it's full extension and I can't have no weight behind
me to leverage or anything. So it's really you know,
(13:35):
it's like tipping you over. Yeah. The other thing that
it's become kind of my go to joke on set,
the camera takes forever to get set, the lighting and
anytime there's a lighting adjustment or like a camera adjustment,
it's totally okay, it's totally appropriate everybody stops respectfully and
(13:57):
they do their word. When something happens with sound to
the end of the world, it's like, immediately everyone gets
so angry. Yeah right, like if you, oh, look, we
need to make an adjustment on Steve's top, Everyone's like,
(14:17):
oh yeah, I know. I don't know where that came
from or why it is that way, but it is
that way. It's universal every set. It's universal across all
shows of all time. How does that make you feel?
Is it aggravating? Oh yeah, it used to make me mad,
you know, and used to make me, i don't know,
(14:38):
hurt my feelings or whatever. And I'm like, hey, this
is just as important as ever. We can't shoot unless
we do this, so it's it's it's important. But nowadays
it's just it's just funny, you know. And you know,
I've been doing this a long time, and so you
just tell them, hey, look we gotta fix it. Do
you want do you want the sound or not? You know?
Well that as you know, that has become my joke.
(15:01):
Now it's set, which I just try to exaggerate it
because it makes me laugh. I'll just go waiting on sound,
waiting on sound. Everybody remember when we used to say, uh,
you're getting carboned because of Nick, because you would have
to come in and fix the people's mics, and we'd
be like, oh, we're getting carboned. Yes, we're getting carbone
(15:25):
and yeah. He always made him very nervous. He did
not like that particular aspect of the job. It's a
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hire you need Indeed. Hey, this is Paris Hilton. Last year,
I revealed the story of my abuse at Provo Canyon School.
Since then, thousands of survivors have come forward. Now I'm
on a mission to expose the truth of the entire industry.
In this weekly investigative podcast, me and my host Rebecca
(17:35):
Mellinger and Caroline Cole, We'll examine one infamous team treatment
facility each season. First up, Provo Canyon School. This one
is personal. When you first get there, you have to
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(17:57):
sleeping and you're like, where am I, Holy hack? This
is not what I expected. Listen to Trapped and treatment
on the I Heart Radio app, Apple podcast or wherever
you get your podcast. M Hi, I'm Elizabeth Dutton and
(18:18):
I'm Elizabeth Dutton. Wait sorry, do you want to say
your name? No, I'm good. Good, go ahead. We're the
hosts of Ridiculous Crime. People love true crime, right, the mystery,
the intrigue, the human frailty totally. But what a lot
of us don't like is the blood and the guts
and the mayhem. Wait wait, wait, wait, some of us
do like the mayhem. Okay, but let's be real, there's
nothing funny about murder. Okay, that's our show gives you
(18:40):
stories like the kidnapping of Frank Sinatra Jr. And the
Max Headrooms signal hijacking. Oh so you mean ridiculous stories
like the UK cat Shaver and Pablo Escobars cocaine hippos. Yeah,
stories like the dudes who stole Buzzy the animatronic whatever
he was from Disney World and the woman whose husband
tried to kill her but came back from the dead
and surprised him at her own funeral. Yeah. That does
(19:01):
sound good. You can find this new podcast, Ridiculous Crime,
all over the place, the I Heart Radio app, the
Apple podcast, or wherever you get your podcast. I don't
know how you live Ridiculous Crime. I mean, in terms
(19:25):
of the working environment, being a fan of the show
coming on, did you have any other impressions of I
don't know, other people that you were working with, greg
Or or the cast specifically. Oh, yeah, Well, I mean
there's a lot of things that were awesome about working
on that show. And I mean it's hard to honestly
talk about that show without getting emotional because it was
such a incredible, just amazing experience. And I think one
(19:51):
real big thing is that everybody who worked there was
a fan of the show. Everybody who was there love
to the show and cheered and rooted for the show
and to be successful. And we all looked forward to Thursday,
you know, at eight o'clock. That's when it was on, right,
eight o'clock back then when you watch TV, when it
was on, you know, everybody looked forward to it being on.
And I can remember that website office tally right. Yeah,
(20:15):
So on Thursday nights at like five o'clock, it's eight
o'clock back East, but we were all on set and
we would all start checking our phones and going on
because all those computers in the bullpen were real and
you could go online, go to office tally and start
seeing the comments from all the fans from all over
the country. That was exciting, you know, to be part
of something that that many people loved and and cheered for,
(20:39):
you know, so that I've never experienced anything like that
on a show before, you know, where everybody there loved it,
because usually half the crew hates it and half the
crew is like, I'm gonna be here, it sucks. How
long are we going to be here? I never felt
like that on the office ever, no matter how long
the day was, no matter if even if we were
remember towards the end, we were working on like Saturdays,
(20:59):
and I think we worked on a Sunday and I
didn't care. It was so much fun that it just
you know, I didn't It didn't bother me at all. Yeah,
I think that is. I don't think you can overstate
enough how special and also unique that was, because you know,
I say the same thing and people always sort of
(21:21):
laugh when I say I'm a fan of the show,
Like it regardless of me or my role or any
of that. I shoot plenty of stuff that I don't
ever watch, and it's not because it's bad or because
I don't support it, or it's just I always feels
like weird to go back and watch because there's nothing
(21:42):
I can do. The Office was different because just I
was a fan of the show. It wasn't like, you know,
even though I was there from the beginning, I just
I just love the show. And having the crew also
believe so strongly in what we were doing, Um, I
think made a huge difference. Yeah, no, totally, it does.
(22:03):
It makes a huge difference. And I think a lot
of that came from Greg, because you know, Greg really
embraced the crew and really appreciated them and saw them
as a humongous part. I mean he let people go
to the table read. You know, I remember going to
the table reads and then be packed. And prior to that,
the table read was like a secret meeting that no
(22:24):
one was allowed to know about and and or talk about.
It was like treated like it was this big secret.
But on the Office everybody went. You know, if you
could fit in the room, you could go. He would
even let whoever is there. You read this part, and
you read this little part, you'd be that, like the
little day player parts that hadn't been assigned yet to anybody.
And I understand why he wanted an audience for the
(22:47):
have the script read an audience outside of just the
writers that wrote it and the actors. You want to
gauge like how many laughs you get, And that's really
smart in terms of getting feedback for the initial script.
It also makes the crew feel like a bigger part
of the show that I got to watch the evolution
of an episode from the table read to watching it
(23:09):
on TV, and I never had that experience before. Yeah,
no one has brought that up, but I think that's
a really good point. I think that there's a there's
a preciousness that we did not have on that show.
So what I mean by that is I think that
show runners bosses are trying to protect writers and if
(23:31):
if something doesn't quite work, they want to let them
work that out almost in private or in as you know,
ass to private as possible with people reading it. And
in that aspect it becomes way more presentational in a way,
even even the delivery of an episode becomes much more presentational.
As opposed to collaborative. And I feel like what you're
(23:54):
saying is really true. No one's talked about that, but yeah,
the table reads were totally open. It was completely open
to it, as you said, as many people who could
actually just fit into Yeah, and at first or like
thinking they're gonna kick me out here? Am I allowed
to be in here? And like because I would really
love to watch this if I can? You know? So, Yes,
it helps. It helps the camaraderie on the on the set,
(24:17):
I don't know, it just makes it makes the experience
a lot more fulfilling. Yeah. The other thing that it
does is it begins to get your creative energy or
your thought sooner as well. Right, I mean, you know,
sound was used quite a bit as a as a
tangible object on our show because because of the way
(24:39):
we shot it and this documentary slash mockumentary style. How
did that affect your job that aspect of how the
show was shot? Well, I mean we we wired everybody
for the most part, mostly as backup or if let's
say we were in the bullpen and we're gonna zoom
over to accounting, which is you know, generally the farthest
(25:00):
away corner. You know, I can't swing over there and
and boom obviously. Basically, yeah, honestly, it started the trend
of having to wire every actor on set all the time,
because every show that I've worked on since The Office,
that's what they do. And prior to the Office, we
basically never wired anyone unless it was a really wide
(25:20):
shot or like a walk and talk down some narrow hallway,
or you know, there was some physical reason why we
couldn't boom it. But because of the Office, it became
the norm. In fact, we had to buy a whole
new recording system called a Diva sixteen that would have
sixteen tracks on it so that we could put all
the actors on their own tracks. It really it started
this big thing. And then when they started up Parks
(25:42):
and Wreck, the guys from there came over to see
what we were doing so they could set it up
on that show. Similar with Modern Family and like all
the other shows that were kind of inspired by our show,
you know, they needed to do this sound the same way.
And so from then on, I can a every single
show I've done, I have to have a multi track
(26:03):
recorder with a mix on one track, and every individual
actor on their own track after that, and it was
never like that prior to the office. So that's one
thing we did to accommodate the documentary thing that ended
up being a trend. Right. It's so funny you bring
that up. I think, as you say, it was a progression,
(26:24):
and I think that there were sometimes I thought about
this in the years. There were sometimes when you thought, oh,
they're not going over to accounting, They're not going to
swing over to accounting on this thing, and sure enough
they would bomb Garter would open his trap. Oh yeah,
But I would keep my eye on you, See, I
would want you. I could tell after a while like Okay,
(26:47):
I know what's going to happen here, Like because after
a while I didn't even memorize the scenes anymore. Like
I just would read them once in the morning and
be like, Okay, I got it, and just watch people's faces.
Or i'd watch Matt, you know, interact with you. Or
I could just tell from the dialogue like Okay, Kevin's
definitely gonna react to this, you know. And so I
would tell Ben in the mic, would be like, hey, Ben,
(27:09):
Kevin's ambably gonna do something after this, you know. Or
John is going to do something or whatever, and uh,
you know, after a while we had it down and
we could just kind of predict and it was fun
what was going to happen? Yeah, No, but I it
reminded me of just sometimes maybe we would do, you know,
a final rehearsal or do the first take, and then
here here would Carbone would come in and we wiring
(27:33):
me up when it was not not an expected moment. Yeah,
I would tell him like, get in there and wire
and something's going to happen. Yeah. So one thing I
wanted to talk to you about significant sound moments on
the show and what I mean by that, we affectionately
call it sound or no sound, and a couple of
(27:55):
moments that that stick out. One is the proposal I
remember to me and Pam. Now, were you a part
of that discussion. I don't think it was a big
part of it, but I do remember Greg asking me
my opinion. First of all, I've heard the original story
from Dave Rogers, who I think just on a fluke.
He just showed him a version of it. He's like, oh,
(28:15):
we could do it like this, and then he played
it for him with no sound, and then it turned
into this like huge week long or two week long thing,
this big debate, we're gonna do this sound or not.
But my opinion was whether or not you use this
sound should be determined by how why the shot was.
I was like, look, if you're gonna play the proposal
and a big, giant, wide shot, then it won't be
(28:37):
such a big deal to not hear the sound, because
from a documentary point of view, the audience will think, well,
they're too far away, they didn't have their wires on
or whatever, and you're going to see the traffic front
of the thing, and you're gonna hear that and you
can tell what's going on. But if you're going to
be tight in and you don't have the sound, it's
gonna look like a mistake. So that was my feeling.
I was like, so, if you're showing their tight shots
(28:59):
or whatever, or or from the chest up, then you've
got to use the sound because otherwise it's just going
to be distracting and look weird. But I know ultimately
they went with the sound, and I know it was
like the decision was made at the last minute, and
if you talked to Eric Culjyn, he's there was the
post supervisor on that, and I still work with him
all the time, and I know he has the story
(29:20):
where he has both tapes, one in each hand and
they're like standing in front, like in front of Greg's
house or in front of the studio or somewhere They're like,
all right, dude, which one is it going to be?
We got to decide right now. I'm glad he decided
on the sound though. I think that was more satisfying
for the fans. Yeah. So, I've had a lot of
people talk to me about mistakes being okay, really leaning
(29:45):
into the realism of the characters that existed in this
real time and space in dunder Mifflin and not wanting
to have hair and makeup people sort of constantly coming
in and adjusting, you know, small pieces of hair or whatever.
Or was there anything in terms of sound that was
different on this show. Yeah, yeah, I mean, especially early on,
(30:08):
I think that they were more on board with that
idea earlier on in the show, and then as the
years went on, we maybe tried to perfect it a
little more, but certainly a boom could be in the shot,
and I think there are some moments in the second
and third season when you see the boom in the shot,
and people didn't necessarily have to be right on mike,
(30:28):
you know, or be perfectly miked. It could sound off,
or it could sound far away, especially if the person
was far away, you know, because on a scripted show,
well this was a scripted show, but on a real
scripted show, your job is to get everything perfectly and
clean and then let post decide do we want this
to sound far away? You know, and then they change
it and alter it to make it sound however they
(30:49):
want to creatively. But we were able to kind of
just do that in real time if okay, well we
didn't have enough time to mike him, and he's running
in from this, so we'll just I'll just queue the
boom over that way, and whatever it sounds like is
what it sounds like. So you definitely have more freedom
in that sense, right. Obviously, one of the huge moments
on the show Steve's final goodbye and him taking off
(31:15):
the mic to go into the airport. Can you talk
to me a little bit about that, how that was
achieved and and and your role in that. Sure, Well,
we we had, so Greg came over and we talked
about a couple of different ways to do it, and
we even discussed the possibility of Steve handing me the
pack and then I like show it to the camera
and turn it off and we watched the light flicker
(31:36):
off like sort of like a dramatic kind of thing.
We didn't do that, but we talked about it, and
then in a couple of takes, i know, Matt tiled
it down and you could see my hand come in
and him hand the mike to me when he takes
it off. Um, but that was it was this sad day.
You know. That whole period was just a blubber fest
(31:56):
for for everybody, you know, and then we had to
go through to again when the show ended two years later.
We all had to cry every day for a whole week. Yeah,
but yeah, that was that was a big day. You know.
It was sad emotionally and and just to be there
and I'm heat when you see him reach off camera
(32:17):
he hands it to me, so which is kind of
a neat moment. I'm like, he's handing that to me,
I'm standing right there and he's gone, and he's gone.
He walks out and you can still kind of hear
like muffled, you know. Airport noises which I presumably I
guess are for the boom. In a real world, you
would still hear the boom, and and you would hear
them a little bit too, although they were kind of
(32:37):
far away. But I still like what they did. You know,
to make it just more dramatic, I guess, yeah, what
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(34:02):
The Pink Moon Murders. The local sheriff believes there may
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(34:46):
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The way that our show was shot, and I think
(35:07):
part of it was the spontaneous way at times the
camera moved around, which then obviously made you have to
move around. I mean, I don't think gymnastics is an exaggeration.
I mean we talked already about you laying on top
of the vending machines to be able to get down,
but when the camera was gonna swing, you had to
swing out of the way so you wouldn't be in
(35:29):
the shot. No, I mean we we would call it
like a dance basically, and for the most part it
was just the three of us, just me and Matt
and Randall, and we're just like, Okay, you're gonna stand here.
Then I'm gonna stand here, and then he'll say this,
and you walk over here, and then he does this
and I walk over there, and then we would just
work out this dance and memorize it basically, and do
it three or four times. Then everybody, the real people
(35:51):
come in and then we do it like fifteen times
and then we move on to the next one. Yeah,
you know, it was super fun. And then sometimes I
could be there if they're whipping roomy, you can't tell
I'm there. You know, so there's probably lots of spots
on lots of episodes where I'm in the whip or
the other camera is in the whip, or Ken Kappas
is in the whip sitting in the corner at a
little monitor with Veda, you know. But I mean a
(36:15):
lot of times it was just the three of us
on that set, the only crew people there. You know.
Did that give you a closer or different relationship with
the actors than you've had on other shows. Yeah, yeah, definitely.
And I mean just the mirror situation of of all
of us being in that room all day for you know,
(36:40):
eight months or whatever it is. I mean, you spent
more time with each other than with our families and
our spouses, you know, and that that situation alone makes
you closer. Yeah, But also just the intimacy of of
the nature of how we shoot and the communication. You know,
it's like, okay, so you're gonna you're gonna be here,
and you and to walk here, and we gotta you know,
(37:01):
we just gotta stay out of each other's way and
let each other do our job so the scene can happen.
It isn't necessary to communicate that much on a on
a regular working set, you can kind of the hands
off and just do your job. But that wasn't necessarily
true on the office. You know, we kind of had
to really talk to each other. It's occurring to me
(37:21):
now maybe stronger sitting here talking with you again. I
don't recall any other job that I've had where without
talking to a director or a writer or a producer
that I would have conversations with sound you or camera
Matt or Randall and say, hey, I'm gonna do this,
(37:45):
make sure you have made right. That doesn't happen now
with you not saying like let me run that by
the director or no, we just we just did just
did it because we were going to do it a
million times. Anyway, it's occurring to me right now, how
dreams that is, I know, deciding our own rules as
it goes along. Yeah, And the energy of that is
(38:07):
really kind of intoxicating and fun. It just made it
so much fun to be there. Like I love watching
that opening. I think it's is the fourth season where
Ed is in the elevator and they're doing that song
that no no no no no no no opening the
fourth season. That day was so much fun and all
(38:28):
we did was that scene. We didn't do anything else
that day. I think we wrapped at two o'clock. This
that was so like, just to watch that is just god.
That was just a super super fun day and I
get that feeling a lot when I watched the show. Yeah,
and my kids watch it now too, which is great.
Oh they do. Yeah, my son's really into it. He's thirteen,
(38:48):
that sounds right, Yeah, and he's uh, he's definitely into it.
You know, we watched that in The Simpsons. Those are
two good choices that both stamped with Greg Daniels. Right,
that's true. So you appeared on the show as many
of our crew members did Customer Loyalty. You were a dad,
(39:09):
angry dad. I think we're annoyed sitting next to uh
to Pam there at CC's recital. How was that being
on camera for you? Are you glad you did it? Oh? Yeah,
that was super fun. And that stemmed from, you know,
the whole introducing the boom operator as a character and
bringing in Chris Diamond Topolis and me auditioning to play
(39:29):
myself and which I got to do. So I had
an audition in front of Greg and Alison Jones and
read with Jenni Fisher and you know, I'm not an actor,
but Greg really wanted me to do it, and and
I was like, well, I'll try it, you know, we'll
see how it goes. And uh, And they ultimately decided
(39:49):
to hire an actual actor, which is probably wise, but
sort of as a as a joke, I think to
the fans and as a thank you to me for
like going along with everything, they gave me a little
part in that same episode, the episode where they introduced him,
and oh it was great, you know, that's awesome. Yeah,
(40:10):
So you're Brian Whittle character on the show, real life
person the boom operator, as you said, played by Chris
Do you know how that idea came about? Where you
involved in discussions so you were asked to audition for it.
But when did you become aware that that was going
to be kind of a signature moment in the last season.
The writers have been talking about it for at least
(40:32):
a few weeks before that, maybe even a month. They
I think for a long time had wanted someone from
the crew to step through and be part of the show.
Why they chose the boom Operator, I don't know. I'm
imagining because if it had been a camera person, then
they have to have a moment where they put down
the camera or hand the camera to someone and they
walked over, so they'd be like that sort of interruption
(40:52):
in the screen. But I think they thought, well, the
boom that I could just walk on and it wouldn't
be wouldn't disrupt anything, you know, So maybe that's why
they picked him. But yeah, they were talking for a
long time about what the story was going to be,
how he was going to be, what he was going
to be about, and they would mention it to me
on the set, you know, all we're upstairs talking about
you and what what's gonna happen with your thing and
(41:13):
so and then eventually, uh, they figured it out and
they wrote out some scripts and Greg asked me to
audition for it. You told me after the office you
you worked with Chris Damnontopolis on Silicon Valley. Did you
teach him how to hold the boom? Or were there
aspects of of you know, of him creating that character
(41:33):
that you talked to him in that moment or now, yeah,
I mean I just told him. He actually had like
a different rig on. He had what's called an E
n G set up which a documentary person would have,
you know, the thing you wear on your shoulder that
you see news people have or sports people, and uh,
I just, you know, just showed him how to wear
it and how to how to hold it, so it
looked like he knew what he was doing. I don't
(41:55):
think there were too many shots of him actually working
as a sound man. He just stuff and came in,
so it wasn't super important. But but yeah, he was cool.
How do you feel about the fact that it was you,
your name, that you know, tried to ruin one of
the greatest love stories in television history. I mean, how
does that make you feel today? Uh? It makes me
(42:17):
feel great because I got to be I have a
character named after me on the show. You could have
been the most evil person there. It's still cool. That's awesome. Um. Yeah.
Since The Office, you've done a lot of work with
Mindy Kaling. Right, have you worked on the Mendy Project,
Sex Lies of College Girls? You have another little show
(42:38):
called Champions that lasted for one season. We did that
one also, right, you enjoy working with her? Yeah, it's
been great. We did I think six five or six
seasons of the Mindy Project. And that's where I got
to move up to sound mixer. So that was great
because I don't have to hold the boom over my
head anymore. And then we went right into her championship
after that, and then I did Yeah, I did Sex
(43:00):
Lives last year, the pilot, but I've done some of
Jenna's shows too, and or just I did Splitting Up
together with Jenna. I love when our crew. There's nothing
like it showing up somewhere and there's the guys. Um. Anyway,
do you have any any favorite moments from the set
(43:20):
of the Office that you remember? Favorite moments? Um, Yeah,
I have a bunch. I mean, the hardest I ever
laughed and I broke all the time on set. Probably
the same for many is the Christmas episode where you're
sitting on Steve lap Yeah, I mean he's like, just
say some toys. Just say some toys. I mean that,
(43:42):
And plus I have the boom over my head, so
I'm like this and I'm in a really uncomfortable physical
position and it's way out, really long. I have the
boom over the two of you and and everybody, everybody
is breaking all over the whole bullpen, and oh god,
it was so funny it is, and I'm like shaking
(44:04):
and trying to hold this thing not drop it. Well,
I realized that you were probably the only other person
that could hear, because you had the mics on and
you were there booming it. But I've said to people afterward,
everyone who was laughing, they don't even know the half
of it, because there was a sound that he made,
very small that the mics obviously could pick up. But
(44:27):
at the moment I sat down, he made this sound,
and it slayed me every time. Now, were you were
you really like sitting on his lap putting all your
weight on him, or were you kind of like but
by the way, and I just did this for some
other dumb bit too. He looked at me after and
(44:50):
he's like, it's not even heavy. It's not when you
see on someone's life. It is not that. I promise
next time I see you, I'm gonna sit on your
lap and we're gonna we're gonna try it out. But
he was like, no, it's not that. But oh no,
he he made it seem like it was oh he
sure did. Well, yeah, who wouldn't. I mean, that's that
(45:12):
you got to do that? He did. I mean he
nailed it. It was it was perfect. He nailed most everything. Yeah,
he really did. He was amazing. You mentioned it before
the tears of the finale, when you found out that
the show was ending. How was that for you? Well,
we all, I think we suspected it was coming, and uh,
(45:33):
you might have been there when that time. Gregg came
onto the bus. Remember we were shooting on that bus
and he stepped on and he said, Hey, I just
want to tell you guys, it's going to be announced
on deadline in like ten minutes. He's like, just so
you hear it from me, this is gonna be our
last season. And then he made a comment because there
were still several episodes left, and he made a comment.
(45:53):
He's like, so he says, now that we know this
early on, we can really savor it, right, which was
a really a great way to look at it, because
it was sad, but it was like, Okay, at least
we know now it's not gonna be abrupt and we're
just gonna you know, like some some shows you're like, oh,
we're done, go home, right, you know, and but but
on this show, it's like we knew, Okay, we've got
five sick whatever was left episodes and we can really
(46:17):
just come into work every day and really just love it,
you know, until it's over. Yeah, but yeah, it was sad.
It was Sam and you were there, you remember. It
was like every time we're on the set's like, oh
my god, this is the last time we're going to
shoot in the annex with this person's ending here and this,
and then we did. Then every setup was like, this
is the last time we're doing this scenario and this
(46:38):
is the last time we're doing this right, and it
just it was just went on and on and every
scene someone would break and just be like fourteen days
also like shooting the finale, and right that finale we
actually went to a ton of weird locations. There was
(46:58):
the Arm and there was Kevin's Bar, and there was
like the Q and a thing and you know, all
these weird locations which we never did. And so it
was like we were away for like seven eight days
and then we went back and kind of did you know,
the very end um to finish it off, which I
think was always a great idea. It was it was
(47:20):
right up till the end, right up to the ends,
like to the rap party, like it was like it
was we went to the rap party right after we
rapped on Saturday that we were like two hours late.
We relate to own. That sounds like us. It sounds
like us. Um, listen, I love so much of what
(47:42):
you have talked to me about today and the unique
collaboration that we had between the cast and the crew
and the writers and the producers, and is really a
key ingredient I think to why the show is endured
and how it's thrived now seven eight years later. Um,
I'll ask you what I've asked everyone. Why do you
(48:03):
think the show now is bigger than it was when
we were working on it? What do you think the
secret sauces Um. Well, the main reason is is that
it's funny. But the sort of unifying reason is I
think it's just because it's it's just very real while
at the same time being outlandish. You know, everybody has
(48:25):
these weird people they work with, and you know, these
people that can be blown up into caricatures, and that's
what this show does. It just blows up these people
you already know into the weird people that you sort
of make fun of them for already, whether they're that
extreme or not. And I think everybody connects with that. Also,
there's just nothing else like it right now probably and
(48:46):
there never will be again. TV is totally different now.
We don't have twenty six episodes, and it's not on
at the same time, and we don't all watch it
together as a country, and it's just, you know, it's
just a very different thing. And that was like maybe
the last really great, great television show of that era.
And uh, I think that's my people love it. Brian,
Thank you so much. It's so good to see you.
(49:10):
Thanks for coming and talking to me, and uh, and
you will live forever Brian Whittle, the man who tried
to break up Jim and Pam, ladies and gentlemen. Thanks buddy, sure,
thank you. It's a great time. Brian, thank you so much.
(49:39):
And I truly meant what I said. You will live
forever both as Brian Whittle the character, but also you
the real Brian Whittle office lum sound genius and the
boom operator who didn't break up one couple, not even one.
(50:00):
You broke up nobody, my friend. So thank you for
coming on. And of course this isn't the end. I
will be back next week for another episode of the
Office Deep Dive. This one well with another love interest
of Pam actually, David Denman a k A. Roy Get
(50:20):
excited and of course uh coming soon my new podcast
Off the Beat, More stories, more memories, more everything. I'm
going to miss you this week, all right, I hope
you'll miss me, but know that I will see you soon.
(50:42):
The Office Deep Dive is hosted and executive produced by
me Brian Baumgartner, alongside our executive producer Langley. Our producers
are Emily Carr and Diego Tapia, and our intern is
Hannah Harris. Our theme song Bubble and Squeak, performed by
my great friend Creep Rotten, and the episode was mixed
by seth Olandsky. Yeah, adoption of teens from foster care
(51:26):
is a topic not enough people know about, and we're
here to change that. I'm April Didn't, the host of
the new podcast Navigating Adoption presented by adopt us Kids.
Each episode brings you compelling, real life adoption stories told
by the families that lived them, with commentary from experts.
Visit adopt us Kids dot org, slash podcast, or subscribe
to Navigating Adoption presented by adopt us Kids, brought to
(51:48):
you by the U S Department of Health and Human Services,
Administration for Children and Families, and the Act Council. Hey,
it's de Liefa. I'm here to tell you about my
brand new podcast, deer Lipa At your service. I'll be
sitting down with the world's most inspiring minds to uncover
what makes them tick and what they've learned from the
obstacles life has thrown at them, including Sir Elton John.
After a lot of upsets, a lot of disappointments, a
(52:11):
lot of betrayals, It's turned out to be the most
wonderful life right now that I've could ever imagined. Listen
to do Relief at your Service on the I Heart
Radio app, Apple Podcasts, or wherever you get your podcasts. Hello,
and welcome to our show. I'm Zoie de Chanelle and
I'm so excited to be joined by my friends and
cats Meats, Hannah Simone and Lamar and Morris to recap
(52:33):
our hit television series New Girl. Join us every Monday
on the Welcome to Our Show podcast, where we'll share
behind the scenes stories of your favorite New Girl episodes.
Each week, we answer all your burnie questions, like is
there really a bear? In every episode of New Girl, Plus,
you'll hear hilarious stories like this that was one of
your things you brought back from Hot Yeah because all
(52:53):
professional passtby players seven pop Yeah. Listen to the Welcome
to Our Show podcast on the I Heart Radio app,
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