Chris Haston

Today Brian talks to “the fastest gun in the west”, the man with arguably the best job in Hollywood - Chris Haston, the key photographer on The Office...who also happens to be Kate Flannery’s main man. Chris tells Brian about the days he had to bribe federales with Playboys, how he got his job at NBC by bugging one guy for five years, and his adorable love story with everyone’s favorite Office drunk. Oh, and you might just get a special cameo from her too!

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Episode Transcript

Speaker 1 (00:00):
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Pink Moon Murders on the I Heart Radio app, Apple Podcasts,
or wherever you get you a podcast. M My name

(02:06):
is Chris Hasten and I'm an NBC staff photographer and
I was the key photographer on the Office and a
man of Kate Flannery. Hello Office family, Hi everyone, welcome

(02:27):
to another episode of the Office Deep Dive. I am
your host, Brian Baumgartner. Today I have a very special
guest joining me. He was an essential part of the
crew of the Office, and in many ways he has
actually helped shape our memories from the show. He's the

(02:48):
reason that we have so many incredible behind the scene
photos from our time on set because he was our
extremely talented and absolutely hilarious NBC staff photographer. That's right,
we're bringing on the incomparable Chris Hasten. Now what, why

(03:12):
are you talking to the NBC staff photographer. That doesn't
make sense. Well, Chris was that, but he also has
become a part of our family. Yes, that's right. He
became the main man of Kate Flannery a ka Meredith Palmer,
who actually makes a cameo at the top of this

(03:35):
episode today. Gosh, I love these two. Everyone in the
Office community loves these two. Now, in addition to the Office, Chris,
having worked for NBC since, has worked on some other
shows you may have heard of maybe, Okay, you've definitely

(03:56):
heard of them. The TV he's touched is almost unreal,
you know, like Friends, Seinfeld, Fresh, Prince of bel Air, Community,
The Tonight Show with Johnny Carson. He has done it all,
but only one show really changed his life because I
mean romantically right. Um. I will tell you also that

(04:22):
Chris also played a huge role in my upcoming book
that's right. Welcome to dunder Mifflin is coming out November.
You can preorder it on Amazon right now, So go
grab yourself a copy, Grab one for your friends, grab
one for your family. Get ready to be blown away.

(04:46):
I cannot wait for you guys to read it. And
Chris offered so many behind the scenes photos that are
included in this book, so I'm so excited to talk
to him about those moments. But now get ready to focus.
Get it like, focus the camera. We're focusing. Well, we're

(05:08):
focusing on the man behind the camera. Please give a
warm welcome to the amazing Chris Hasten. Everybody. Bubble and Squeak.
I love it. Bubble and squeak, Bubble and Squeaker, cooking

(05:28):
at every month, left over from the night before. What
is happening? What's up, daddyo? How are you? I'm great man,
good to see you. Where is your mustache? Oh? I

(05:51):
haven't had that since COVID. Man, it just got too
hot and sweaty. If you know what I'm saying. That's
what she said, But no, I shaved it off just
because wearing a maut call the time was impossible. Right,
Oh that's smart. Kate. Would you get out of my
eye line please? I've always wanted to say that to
an actor. Get the hell out of my eyeline. Is
Kate there? Ate there? Right now? Kate, Kate, come here?

(06:13):
She is there. This is her Mike, this is this
is where she does her How are you, Kate? What
is happening? I'm talking to your man, I know, I
love it. I can barely hear you on the headphones.
Oh that's okay. It looks like it looks like a
Broadway show curtain behind you. I mean this is a
man every night just for him, an audience of one.

(06:39):
All right, can I get on? Can I get on?
Are you guys going to talk? I love you too.
We're being recorded, don't worry. Alright, alright there, Well there's
a comedy portion of the interview right. Oh, it only
begins there. It's so good to see. So you're well,

(07:01):
everybody's okay, yes, yes, absolutely fine? All right, So I
want to go I want to go backwards in time
a little bit. How did you get into photography? Well,
as a kid, you know, you always hear those stories. Oh,
when I was nine or eleven years old. You know,
when I was nine, somebody put a camera in my
hand and I fell in love with it. And when

(07:24):
you know, all the kids in the neighborhood. I'm from
southern California, so skateboarding and surfing was it. So when
everyone else is skateboarding half pipes and pools, I was
taking photos of everybody, of everybody doing half pipes and
pool Okay, exactly. So we're still best friends. So you know,
we we always have our war stories, and mine has

(07:45):
to do with photography. But it just yeah, I just
I just started landing jobs here and they're working really
hard to get into places. And I was going to
school at the time in Torrance, and UM started working
for an age to see shooting auto racing. That's my
first professional gig, shooting auto racing. We shot off road

(08:05):
racing and eventually road racing, and yeah, it was great.
I'm self taught. So they had a studio there, which
is the main reason I wanted to work there, and
then I taught myself lighting. It's funny, about a year
before I started at NBC, which, by the way, I
did this waiting for NBC to open up. Somebody goes,
do you ever think of shooting people? I go, no way, man,

(08:26):
I said, people get up and walk out on photo shoots.
There's no way I'm ever going to shoot people. A
year later, I'm shooting some of the worst subjects. No,
no offense, but you know, no, I mean none taken.
That was the early days. But wait a second. You
were self taught. I've taught myself lighting. I've taught myself
about exposure. I've taught myself, you know. I mean, I

(08:47):
had one year of college that that's all I needed.
But I went to a small Christian school, so they
offered nothing. I shot for the newspaper and the yearbook,
which they were awful. I looked back on that stuff
and go find O then what I know now you know?
But yeah, it was just it's it's a learning thing
all the way. And um, you know, I've been at

(09:08):
NBC for a really, really long time and now I'm
the head guy. Now you're it, okay, But before that,
you're shooting off road racing. So you're shooting cars off
the road in the desert. We pre run for two
days and find our spots and then we'd either camp there,
somebody would drop us off, and then the race would start,
and you pretty much kind of new, Okay, well there's

(09:30):
a hundred cars and I've seen about ninety five of
them on I'm getting the heck out of here. And
it was dangerous because we were down in Mexico. You know,
you pull over machine guns in your face and you
either have a bunch of photos. We had a lot
of racer photos all the time, or my my boss
would go get Playboy magazines at garage sales. And it's
amazing how far you can get with the federal ally

(09:53):
with a machine gun in your face and a Playboy magazine.
Isn't that great? It's sounds like the federalities are there
right now. Actually, um so yourself taught as a photographer
and then you're shooting off road and then you find
out about a job at NBC. This is no In
nineteen eighty I found out, okay, okay, first of all

(10:16):
my senior high school, I'm like, wait a minute, somebody
gets paid to take pictures in the movies. And then
I really freaked out. And then I ended up meeting
a guy, went to and went to NBC and Burbank
and it was the Johnny Carson stage and Billy Crystal
was doing a pilot It's back when he did You
Look Marvelous. It was the beginning of that. And I

(10:38):
was there with a girl and she goes, hey, I
know that guy down there, and it happened to be
a friend of her mom's and she knew that he
worked there. I never knew it, and uh, she slipped
him a note and he invented invited us down. We
went into the lab, which was my office for twenty
five years, and I'm I immediately hit him up and
he's like, you know. After three months, he's like, don't
ever call me again. And I bugged him every year

(11:02):
just I knew something. I knew it was going to happen.
And it was NBC the whole time, because that was it,
you know, NBC was the network. And finally, after five
years they called and said, you're still interested. And I
went in as a lab guy, wiping everybody's nose and
taking out their trash. And again I go in there
and I learned how they do it big time. And

(11:23):
what's funny about it is no photographer on staff would
tell me stay out of an actress, Eyeline, don't hit
on the actresses, don't don't do this, don't do that.
And I just went and I got to say it,
and I was a nervous wreck, but I never showed it.
And you know, I've worked on some of the biggest
shows in history. Right, what was the first show that

(11:44):
you worked on out of the lab, like when they
let you go on set? Well, Punky Brewster, the original
Punky Brewster was done on our lot and nobody and
everyone was bored with a lot of shows, and this
was a kid show. And I knew that there were
some old school actors on there, and I thought, man,
maybe I can handle this, and they said, go, yeah,

(12:05):
go grab a camera and go. And we used to
use these gigantic housings that went around a nikon or
a cannon that sound proved it. I grabbed it and
I was fumbling and all that. It was only thirty
six frames, so you have to you get through thirty
six frames and then you uh, you know, you got
to switch it out. But anyway, I went down there
and started doing that, and I'm sure the pictures were awful. Uh.

(12:27):
And then the second thing. The second thing was like
instantaneous because they knew I can handle myself. I started
shooting the Johnny Carson Show. That was a rotation thing,
so everybody did it, you know, every fourth or fifth week. However,
many photographers were in that roster for it, and that was, um,
that was show biz, baby, That's how I re's when
I got bit wow, yeah Carson Show, right, I mean

(12:52):
for for comedians at the time, I mean appearing on
that and you're back there shooting at How amazing was that?
Just that dude. It's like Stephen Wright would come into
the green room and I'd be sitting there waiting for
the show to start, and we never shot Johnny's monologue
unless it was required or asked by the producers, and
and like Stephen Wright would be there and like I'd

(13:14):
be like, hey, man, I mean, it's just like you're
trying not to like, you know, throw up. And uh.
I would always you know, with the comedians especially, I
did it with some of the musicians. But I'm like, hey,
if you want me to send you some photos, which
you know, I didn't have the authority to do that
in the beginning, but once it was really rolling, I
and you know, you know, I send Stephen Wright some
photos and Jeff Fox were the God. That guy is

(13:37):
such a great guy. He saw me recently. He goes, Hey,
by the way, I don't hang a lot of stuff
in my house, but there's a black and white that
you shot of me and Johnny is belly laughing. He goes,
that hangs right outside my kitchen and it's like my Buddha.
I touch it every morning. Which, man, that's that's my
payoff right there. That is awesome. Who was the coolest

(13:58):
person on the on the Tonight Show that you shot?
Like for you, dude? I mean god, we go sit
in the audience durring rehearsals and the Chili Peppers would
play for like an hour, and Iggy Pop would just
come this far from your face and just be screaming
at you l a singing, and they love that stuff
because we're an audience of like ten people that wanted

(14:19):
to see them. I don't know, man, it was I
mean Jimmy Stewart, Uh, you know, I can't even I
can't even think it was all great. So you shot
Jimmy Stewart and me, So that's pretty much all I
really talked about. I mean, that's kind of right. I

(14:40):
mean that's there's nothing in between those two. Um, in
addition to the tonight's show. And you mentioned this before NBC,
was it right? I mean NBC was us. By the way,
Warren Littlefield and I we were, we were handed hand
with each other and he calls me his mussy t
the photographer. Really yeah, because I was there through that

(15:03):
whole era, and I was a go getter and young
and willing to just do anything. So Cheers. You shot Cheers.
I shot the end of Cheers. I was Leno's photographer
when Carson left for the first five years, and we
flew to Boston and we were in the Bull and
Finch the night it went off the air, but Paramount
sent me upstairs above the Bull and Finch to be

(15:24):
in a room with the cast while they watched TV.
And they go, you really shouldn't be there, but try
and get photos the finale. This was the finale. They
were watching the finale on TV in a hotel room
in Boston. It wasn't a big room, and it was
really dark, and yeah, it was very intimate. I've been

(15:46):
in some scary places, Brian Well, but that was I
remember that night after the finale. They did the Tonight
Show afterward, and so you were with them through I was, Yeah,
there were a lot of photos I did not take
that night. In fact, I was with I'm sorry I
didn't work. I was. I was with the cast all day.

(16:09):
I was in a limo with Kelsey Grammer doing business
on his way to the State House. And uh, Kelsey
wasn't having a good phone call. He was on that
phone in a limo behind with the cable, you know,
And and the door opens and he gets out and
we walked up the steps of the Statehouse for him
to bang a gavel, And yeah, it was. I was.

(16:29):
I've been in some places, Brian, and there's some other
stories will tell when we're not being recorded. I'm sure
I remember seeing the cast of Cheers that night on
the Tonight Show, and I don't bombed. Weren't they I
don't bombed. That's exactly how it appeared. Was drunk appeared
appeared to me. That is so amazing. And so also,

(16:53):
you shot Seinfeld, you shot Saved by the Bell Fresh,
Prince of bel Air, Will and Gray. You've spoken to
me a lot about friends you were. You were at
NBC the whole time, friends was on right, I did, Uh,
Usually I did the pilot gallery. The gallery is there's
two types of photography. I do as their unit and

(17:13):
gallery unit is something that you're on a set. You
shoot images that look like they're coming out of the
motion picture camera. I take a liberty with that because
there are sometimes you don't want the camera on a set.
Could be on the floor shooting this wide room shot,
but I don't want some actress coming at me, going
that is a terrible photo of me. So I I

(17:34):
sort of take the liberty of getting better pictures that way.
But the gallery stuff is kind of the rock and
roll stuff. And I have been fortunate to do several
years of galleries of the biggest shows on NBC Wow.
And the galleries are kind of pre set up shots
for those listening that usually happens right before a season starts.

(17:58):
You'll shoot the cast in various poses that will be
used for publicity and marketing throughout the year. Right, So
the covers you see on TV guides, or you're sitting
at a light and there's a bus next to you,
that's all the stuff that we do. Yeah, so you
had I'm skipping ahead quite a bit here, but you
had one of the most famous at least from our show,

(18:21):
The Office, that George Sarah painting UM Sunday in the
park on the isle of French words um, and thought
it was just a reservoir. Isn't that a French word? Right?
But you you set up the Office characters as though
they were in that painting. One you're tell me a

(18:41):
little bit about about that or your idea behind that.
One of our top designers at NBC is named Sean Serrio.
He's an award winning guy. It was his gig and
he always gets the real cool gigs. So we got
together and I took the original painting, not the original,

(19:02):
but you know, I took that image and and sort
of traced over and I took out a couple of
people or added a couple of people, and I placed
everyone where I thought, you know, with Craig Robinson in
the hat, or Jim and Pam walking in with the umbrella,
or Kate, you know, with a drink in her hand.
So we sort of designed all of that. We pretty

(19:22):
much shot everyone singly except Jim and Pam were there together.
And that I mean, you guys were amazing because you
look like you're there with a bunch of people. That's
the beauty of photography. Man, it's nothing but a big
fat lie and U production. You can't. Everyone can't just
stop what they're doing and walk off set. So we did.

(19:43):
We did everybody one at a time, and I had
plenty of time with you guys. We had a really
good time. Yeah, yeah, we did. What was let's exclude
the office for a second. What was your favorite other show,
let's say to shoot at NBC. Well, one of the
most intense, most incredible shoots for me was Homicide Life
on the Street. I think it was the third season.

(20:05):
I mean it was like if Breaking Bad was going
and they asked me to go do that photo shoot.
It was like that because it was just rich and
sets in Baltimore were unbelievable, and I knew the show
inside and out. And that's another thing too, is I
really like to know what I'm doing going in. Sometimes
I don't pilot. You just don't know. But this one

(20:28):
I knew. I knew the Box was a sacred place
and that the bad, the worst people in Baltimore were
inside the box and Andre Brower was going to be
really in their face. So those are some pretty phenomenal photos.
I used to enjoy Third Rock from the Sun because
lith Gao is one of my favorite people in Hollywood,
and it was a party, oh e R. We had

(20:49):
a good time on the R even though it was
very tense. We I don't know if I should say this,
but I'm going to. Occasionally we'd bring in beer and
wine and something a little it or sometimes if somebody
requested it, but we get everybody lit. When we were
shooting on the backlot at Warner Brothers late at night,
we'd do these photo shoots of them coming out the
door into the ambulance. And yeah, those were crazy, wild parties,

(21:16):
dangerous things. You didn't we didn't have that on our show.
We didn't. I guess because you guys had a hundred
people on your show. Maybe I guess that's true. I
guess that's true. Talk a little bit about your your process. So,
first off, a multi camera show like Cheers or Friends,

(21:37):
the cameras are set up, do you have pretty much
free rome to to be able to take photos from
anywhere sort of in front? Sometimes if you have an
actress that doesn't want anybody in her eye line, or
she'd be too. I don't even say she. I've had
many many A guy go hey, I can see you moving,
and you know, well, okay, I'll just let me start

(22:00):
by saying, a still photographer is the only job on
set that can be asked not to do their job.
So you can't have the actor go out, you can't
have the sound guy leave, you can't have one of
the camera guys split. So I'm the one person who
could be asked not do their job. But um, when
all that's moving, it is one of the most beautiful

(22:22):
dances you've ever seen. One of my favorite directors in
the world is Jim Burrows. I have done so many
projects with Burrows, Will and Grace. I could run up
to the very front of the lenses and work if
I wanted to. Uh, I wouldn't do that. I'm I'm big.
I'm a big dude, and I do take up a
lot of space. But it's it's a relationship you get

(22:45):
with the dolly grips. You know, if you've ever seen this,
if anybody's ever seen the big dollies that cameras roll on,
those guys will run you over and those things can
run you over. There a tank. I've seen other guys
get clipped and it ain't pretty, but it's a dance
and as long as you know how to dance, you
will survive in that situation. And there are times where

(23:07):
Burrows is famous for putting his foot on the dolly
and kicking it and they're his guys are so good
they start rolling the wheels and the camera follows the actor.
Whatever it's it's truly amazing. But I've been in the
middle of two dollies when that happens, and you just
gotta get out of there. Um, do you find that

(23:27):
you still have the same passion that you did that
first drew you in? Absolutely? Oh no, man, It's the
best job in Hollywood. It is the best job in Hollywood.
I love to joke. Uh you know, you see some
guys shoving a whole giant piece of pizza down his
mouth at two in the morning and just to get
himself home. I'm like, hey, glamorous business, right, Um. But

(23:50):
that I everywhere I go. I mean, I see so
many people from the office. I just saw Kelly Cantley
last week. I see guys from welland Grace all the time.
I see, you know, even even working like America's got talent.
I see camera guys that I've known for twenty five years,
and it's and you know, brand, it's it's such a small,

(24:12):
tiny business, but it's like the biggest, tiniest business in
the world. So I'm so excited. I'm not gonna micrrect,
but no, my passion is uh. I mean, holy cow,
I can't believe I get paid to do this. And
I just Kay will argue with you, but I just
don't have the ego that photographers normally have. And you know,

(24:34):
I'm I mean, I'm taking photos. I'm not a plastic surgeon.
I'm a I'm a documentarian in a way. It's I
love to use that on people. Yes, no, but you are, No,
you are a documentarian. I never thought about it like that. Yeah, yeah,
but I'm I'm not just they're documenting. I'm most of
the time creating the documentation of that. So that's what

(24:58):
I love about being in a studio and doing a
gallery and just making It's amazing brand. Sunday in the
Park with George was such a great famous painting. It's
been copied so many times, and the fact that it
carried the weight that image carries the weight that it does.
I mean people like, oh my god, you worked on

(25:21):
the office. I'm like, yeah, I'm a photographer, and and
and then I mentioned that and they think they're talking to,
you know, a big star. I'm like, that's all. I
move on to the next thing. Man, I'm not worried
about it. It's a hard time for hiring, so you

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(28:00):
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out in the shoes. Obviously you and I share a passion,

(28:34):
which is the Office. Two thousand four, NBC ordered this show.
Now were you aware of the British version of the show?
You know what? When I heard this was coming at US,
I watched the British probably in a day or two.
I watched it all, and it was. I watched it

(28:55):
three times only because it was so frustrating and I
hated it so much. I'm like, I don't get it.
And then once I started watching it and the characters
grew on me, then I I loved it. The reason
I watched it so many times to get it is
because I had worked on fifty British shows already that

(29:16):
they were trying to make here that failed. By the way,
I shot the very first images for the gallery, which
we can get into if you want. UM. But I
went to that crappy little warehouse in Culver City and
we went in there and shot and I shot Pam
behind the desk, and I did that famous four shot
of them looking at the computer. UM. So we show

(29:39):
up and we had an art director who was a
very like UM. He's a very show biz guy. His
name was Jim and Jim had this very like thunderous
voice who whatever Jim said Jim wanted and Jim was
going to get So we get there and Greg Daniels
is there and he's walking around and UM, and I

(30:03):
was confused. I mean, I I you know, Okay, you're
gonna shoot this. They're all gonna be look at the
monitor and you know, normally we're having him looking to
the camera so we can identify them and you know,
people people connect with them. And then Jim Vince is
there and he goes, all right, uh, hey, you hating
points at Johnny goes you look at the camera, and

(30:24):
out of nowhere, Greg flies and he goes, if anybody
looks at this camera, the photo shoot is over. Because
it was so new in the process that I don't
think we wanted to give up any secrets and or
or break that fourth wall for the photos because we
weren't quite there yet and this was our first group shot.

(30:45):
And I completely was with Greg. He knew what he
wanted if I could jump ahead real quick. There were
times where we would have a real secret or something
that they did not want to go out. I developed
a relay and ship with Greg and the producers the
whole show where I would shoot it and we would

(31:06):
tag it so it wouldn't go out. Like I knew.
People know that Steve was in the finale, right, can
I say that finally? Oh? Thank god? But I was
probably one of five people that knew that morning. Uh
they warned me, And which is the greatest thing ever.
Somebody doesn't warn you like Carson Show. They've never warned
us there's a big giant thing that's going to fall

(31:27):
down and just miss his head. It's like, you'll miss
the shot if you're not ready for it. So I
was standing just off camera when he says I can't
be your best to Sminch, and I heard Steve walk
up and I'm just like, oh my god, this is
this is I can't tell you how many of those
moments I've actually been there for so to know that.

(31:50):
And I didn't even tell Kay. I didn't tell a
soul because that's I mean, that's the way I am. Man.
I'm like, uh, if you tell me something no one's
supposed to know, no one's gonna know it. If the
network's not supposed to know about it, They're only only
one person that the network's going to find out, my editor.
And I'm gonna say this doesn't go anywhere until it iss,
which is kind of powerful. But I never thought i'd

(32:12):
so wait when you got there that day, you knew
he was going to be there, and they said, don't
release not right away, not right away. I think when
I was geared up and walking on walking on a set.
Actually I did see him when he walked up to
the house, so I mean I probably knew about five
ten minutes before he walked up. So I think when

(32:33):
he landed, they said, Steve's here, right to be ready.
So and by the way, I want to say one
other thing, and I love telling people this when we're
on the set there that very first day, when Greg said,
nobody looks at camera I had worked at least ten

(32:54):
pilots with Correll, and I mean I worked on some
of the most amazing things with him. And when he
walked up by jokingly said to my Crema, you guys,
Steve Carrell's in this. Let's pack it up. We're getting
out of here. This ain't going anywhere, and he got
a really good laugh out of it. Steve and I
always had the tightest relationship because I had known him
for so many years, and you know, if he if

(33:14):
I needed something, if he needed something, I was always
welcome into his trailer, which was the coolest trailer in Hollywood,
and um, you know it was. It was a good
relationship to have with him. Such a great guy, right well,
I think I think also going back to that first day,
you know, a big thing I know for Greg early

(33:34):
on was he wanted to establish these characters or these people,
meaning Jim and Pam and Michael and Dwight, and and
this idea that that they were not actors, right, and
so actors pose for the camera, actors look into the

(33:57):
camera and and do you know, glamour shots or whatever
you want to call it. Whereas if you're a bunch
of people at a mid level slash small regional paper company.
You wouldn't look into the camera. You would be doing
what you're doing and hoping to capture it. That's really
fascinating to me that it started even before we started

(34:19):
shooting the pilot, when they were doing the gallery. That's amazing. Yeah,
so you shot like ten pilots you mentioned with Steve Carrell.
Was there anybody else from the office that you had
shot prior to the office. Yeah. I was on a
pilot one time and we're working in this great old
school building near downtown and I walk in and there's

(34:40):
these two geeks that are there. One of them is
playing a robot, one of them is playing the robot's friend.
And it was a pilot. And I treat pilots the same.
You get in, you do your thing, and get out.
And this one guy comes up to me goes, you
know what I'd really like for you to do. I'd
like you to do this, that and the other. And
I turned to him and I go, look, pal, this
is a pilot. If this show was picked up, I

(35:00):
will kiss your ass and do whatever you want. And
it was Rain Wilson serious. It was his very first pilot.
E ever did. And to this day, when anybody's introduced
to me by Rain, he goes, this guy shot me
on my very first pilot and we never have talked
about me telling him that, but he respected me and

(35:23):
he went with it at that moment. Now, wait, let
me ask you this. Did you so you were there
early on? Did you like the show? You know I were?
I was worried. I was worried at first because I, uh,
you know, like I said, I'd been on so many
shows that didn't think it worked, and um, I felt

(35:45):
that the first two episodes of the British Office were
so British, and I worried that, wait a minute, this
is just like it. But I didn't understand. And of
course since then I have found I mean, I know
how brilliant all of our top notch people were, like
all of our above the line people were, and I've

(36:06):
grown to really open up my eyes now when I
go on set, like those guys are geniuses. Greg Daniels
is a genius, a fearless genius. And it was breaking
my heart even back then that it was, you know,
six episodes and we might give you one more episode.

(36:27):
And when I see that now I scream at people.
You know, I'm like, are you guys gonna do how
many episodes? And we are they're adding three more, Like
how dare they? Don't they realize they're sitting on a
gold mine. Yeah. Now on the office, there was well,
there were four walls, which there usually are in a space.

(36:47):
There was no place to hide, and because of the
way the show was shot, the cameras moving around all
the time, so there is a huge dance between you know,
a lot of times, really three people excluding yourself are
in the space. There's a boom operator, you've got mix
on people, and you've got two camera guys who are

(37:08):
swinging the camera around and so then into that they
bring your big bond Like, I'm so so glad you
asked this question. Yeah, so how how do you you know?
It's one thing, Yeah, there's one thing to have this
huge dolly that you know, if you stay behind the dolly,
they're not going to shoot you because there's an audience

(37:29):
behind you and everything else. But in this you're having
to learn the dance along with the camera guys and
the sound guys. How how different was that for you
doing your job on our show? Well, Brian and I
we occupied the same three inch square on every floor,
and that's hard to do. At least Brian, Brian the

(37:50):
sound who's an amazing mixer now, but he and I
were in the same spot, and when we were in
a corner in that conference room or something, that conference
room was ten thousand times smaller when you've got a photograph. It.
We just managed and Brian, he just jokingly rolled his
eyes every time he saw me, and I, I'm very gracious,

(38:11):
and I asked permission. I would always ask Randall or
Matt if I could be, you know, in a certain place,
and uh, I managed. I mean again, that's where a
longer lens will come into play and you're able to
sort of get in and I'll try to do two
passes on every scene. I'll try to go wide and
include everyone, and then I try to get it fits.

(38:32):
An argument at the copier or Pam's talking to Michael
at the desk, I'll get I'll go in tight on
that with a longer lens, that's easy to get. Randall,
God bless that guy. Those him and Matt Man. Those
guys are the two best I've ever worked with. Sorry
for all you other guys. I've worked with, but like
I learned this on the er on the R where

(38:53):
it was a little sort of island in the middle
of the emergency room, and when they were on a
handhol handheld they would do and um, I was okay.
And there I watched and if if I saw him
open his eye, I knew he was coming that way. Well,
Randall and I developed a thing where and Matt two.

(39:14):
I think Randall gave me a sort of a little
click or or up, and the moment he did that,
I hit the deck. I literally would drop to the
floor and Matt would actually whip through me. He didn't care, like,
because you know, whip you can't. You don't even if
even if you stop the frame on your on your recording,
you're not gonna You're not gonna see anything. I'm just

(39:36):
a big I wear black all the time, so it's
just a black black white interesting But it was, Yeah,
it was. And that makes you feel like a rock star.
That makes you feel like, man, I am on the
best set in Hollywood and and I'm here making it happen. Yeah,
there was a moment um several years ago that actually

(40:00):
it was right when Steve left. What when Steve left.
We had management at NBC and they brought in a
guy over me who wasn't as qualified as myself and
my other partner that were there, and so they were
making life difficult. So some of the rock star stuff
was taken away from me, and the galleries were being
done by this other guy. Um, and the new season

(40:24):
was coming along, and you know, I don't pay attention
to anything until they're like, Okay, we're gonna do this shoot.
So um, I knew the office shoot was coming up though,
that was the one I knew was coming up. And
then John and I had a conversation and he told
me that he said that unless Chris Hasten does this gallery,

(40:44):
we're not doing it, and that my friend is a
powerful producer on a show, and that my friend is
somebody I will take a bullet for and if he
if he needs me to do anything in life, he
can call me at any hour and I'll be there.
Because that that was a true friendship move. And Krasinski, man,

(41:05):
I'm so glad he's such a huge rock star now
and won't talk to me. I'm kidding. No, we we
talked some. Yeah, we talked recently about something so yeah,
that's amazing. He's he's a class act. He really is. Yeah. Yeah,
just so you know, I I would have done whatever
they asked me to do, whether you were there or not.

(41:27):
Just to be clear. Okay, you talked about your relationship
with Steve. You've known him for a while. How accommodating
was he to work with throughout his time on the show.
He was probably the most intense and uh, I mean
he has a big movie star by the time things
really started rolling. In fact, he might have been the

(41:51):
only one. Yeah, I was. You know, here's an example.
I was in his office once, I was between Matt
and Randall and Brian was somewhere with his boom, and
I hadn't watched the rehearsal. Sometimes it's I don't want
to be in a tight little space like that for rehearsals.

(42:12):
But I didn't know he's going to cry in the scene.
I don't even know if he knew he was going
to cry in the scene in the beginning. And that
soundproof housing wasn't sound proof housing, so it was like,
you know, click click, click, and it was you can
barely hear it. But a man who has to cry
on cue, he heard it, and uh, he didn't even

(42:35):
look up, but he just goes Chris and I'm and
it's like, you might as well hear that out of
a out of a fog horn. It's like and I'm like,
I'm so sorry, Steve, And all you can do is
apologize and leave and just you know, safe face. I mean,
trust me, man. There are other actors who are like,
if I told you once, It's like, well, you haven't

(42:56):
told me once. There was somebody else on the show
later on, but I'm not going to mention his name,
but they'll really let you have it. But and so unfortunately,
at this point, the room is so small, Matt has
to get up off of his box turn Brian has
to get out of the way so I can get
the heck out of the room. Oh god. So it's humiliating.

(43:17):
It's humiliating. But you know something, Brian, you can't take
it personal. It's hard not to um, but it's it's
just a job. So that's the way I've looked at it.
It's your job, and don't take it personal, and you'll
be fine. Hi. I'm Hillary Clinton, and I'm excited to

(43:45):
be back with a new season of You and me both.
You know, when we started this podcast, we were going
through some tough times, and let's face it, we still are.
But I am a firm believer we're stronger together. So
please join me for more conversations with people who will
make you think, make you laugh, and help us find
a path forward. Listen to you and me both on

(44:07):
the I Heart Radio app, Apple podcast, or wherever you
get your podcasts. I'm Emilia on this podcast. I'm taking
you on a search, a search for love. Hard working

(44:31):
Latina seeks cool, down to earth guy. Swipe swipe slide.
It's hard out there for a girl to find Mr Right.
I have to meet a lot of Mr Wrong's. He'd
invite me over to have dinner with his family. I
knew he didn't tell them that it was transgender. Dating
as a trans woman can be complicated, but there were

(44:52):
other reasons. I felt like I couldn't always be myself.
And he's asking me things about my family, like my
mom's in prison, my grandmother was arrested for working with
the Mexican drug cartel. This is Crumbs, My love story.
It's a show about the things we set up for
and the bits of ourselves that make us who we are.

(45:13):
Listen to Crumbs as part of the Michael la podcast Network,
available on the I Heart Radio app, Apple Podcasts, or
wherever you get your podcasts. M Hi, I'm Elizabeth Dutton
and I'm Elizabeth Dutton. Wait sorry, Zaron, 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,

(45:34):
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 stories like the kidnapping of Frank Sinatra Jr. And
the Max Headrooms signal hijacking. Oh so you mean ridiculous

(45:55):
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
sound good. You can find this new podcast, Ridiculous Crime
all over the place, the I Heart Radio app, the

(46:15):
Apple podcast, or wherever you get your podcast. I don't
know how you live Ridiculous Crime. What was your favorite
memory being on set of the Office. I was afraid

(46:41):
you were gonna ask me this, because I know you
asked so many people this question. One of the funniest
things that happened on a regular basis. Kate loves the
fact that I hung out in the fake men's room.
But the fake men's room was the route to the
real men's room because there was no back wall and
I'd be sitting there editing on my computer or whatever,
and uh, leslie, David Baker did it ten times. If

(47:03):
he did it once, they opened the door like, oh sorry,
I'm like, I'm not taking a ship here, dude. The
restrooms right there, keep going um um. You know what.
I hate to be so cliche, but it's like any
day I walked in the door there, man, it was

(47:23):
a good day. And then, of course, you know, in
the middle of the second season, Kate and I hooked up,
so it's like I had a place to eat my lunch. Now,
you know, what I mean, how did this start? Like,
was there a moment, was there was there music playing
in the background, or did someone captured on film. I'm

(47:46):
just wondering. You know. She kept inviting me to see
The lamp Shades, her comedy act, which is absolutely brilliant.
It's that's Kate Flannery brilliance all the way. And I
I was, you know, uh, I'm invited all the time. Hey,
I go to and you want to come see my band?
And I'm like, whatever, whatever, But she kept inviting me.
And one night I happened I was going to be

(48:07):
at this club in Hollywood to see some other girl
and just somebody I was hanging out with. And then um,
I said, well, I'm busy on Saturday. And I go, well,
what time because the thing I was going to was later.
She goes eight o'clock. I go, oh, I can make
that work. And I go, uh, where's it at? She goes,
right in Hollywood Bullever. I go, We're on Hollywood Bluehere.
She goes, it's in prov Olympic. I go, that's where

(48:29):
I'm going to be at ten o'clock to that same night,
I said, this is meant to be and um, we
you know, it's funny. She she knew I had kids,
she didn't know if I was divorced or married. And uh,
after the show, we went and got a drink and
five minutes and I'm like, you and I should be dating.

(48:49):
And I am not that smooth. I had never said
that to anybody else, but I had connected with her
in such a way, and I knew she was brilliant.
I think she was very attracted to me. She invited
me a lot, and she invited you a lot. Yeah,
like every time it was, and it was she used
to do it every Saturday night. So but I think

(49:11):
the one moment that that we first had eye contact
is I used to go around like for almost every
time I was there, I would do portraits to you guys,
just because that's always really good filler if they're going
to do a story or whatever. And I think this
one time I don't even remember, but it was the
Christmas episode of TV Guide. They were going to do

(49:32):
photos of everybody because it was the show was picking
up steam, and there's a picture of her holding up
a Santa Claus doll and uh. And other times I
got her pulling a bottle of vodka of the out
of the thing looking up at me and just she
was adorable, and um, it's funny. I met her as
Meredith and then I saw her as her character on

(49:52):
stage and I'm like and my friends like look at her,
and I'm like, take it easy, take it easy. And
then she comes out walking like Kate and I'm like,
now we're talking. That's why five minutes and I go,
you and I should be dating. You said that to her.
That is amazing. Apparently a recent interview she gave, she
said that the two of you are like Jim and
Pam because you worked together but didn't start dating until

(50:17):
the end of season two. Yeah, that's about it. That's
about right. Yeah, but she was never as mean to
me as Pam was to Jim. Just kidding, I'm just
talking storyline here, Yeah, exactly. In the in the finale
of the Office, Um, Greg, let you dance with Meredith

(50:42):
during Dwight and Angela's wedding. How cool is that? You know,
Kate wanted me in that wanted me in the show,
and I'm like, okay, whatever, you know, I didn't think
it was gonna happen. And then she wanted me to
be I think would be one of the cops that
takes crete out at the end. But those are real
motor cops that stopped traffic for us. Those are real L. A. P. D. Guys. Um.

(51:04):
So I was fine, you know, with just being her
her boyfriend at the at the wedding, and then you know,
end up they gave me a line in the warehouse
when Pam reveals her mural, and which here's a great story.
She's gonna be so mad when I tell you this.
So Coopus comes up and he goes, hey, just say
what a photographer would say, Oh yes, sir, And uh

(51:26):
so Pam's like, all right, every real, let's do this.
But and then everybody gets in and I said, all right,
everybody right here. That looks great. That looks great, you know,
and then then you cut and kick goes and you're
all standing right there, and this was a nervous moment
for me anyway, and Kate goes, you can't talk, and
I was just like I was told I can talk.

(51:46):
And all of a sudden, Kelly Cantley, who's this tall,
walks through and she goes, you can talk, and she
looks at her she goes, he can talk. And then
she she takes off and then uh, Kate was just
like oh no, oh no, so and then what happened
was they didn't have a funny enough line and Greg
brought me into a d R and I think you

(52:07):
might have been there. I don't know it was it
was Angela, but they wanted to add um just a
couple of dozen more, which a photographer would never say,
because the whole reason I wouldn't say that is because
you guys get bored with what's happening and you go
upstairs brilliant writing. And so I meant, I'm at Universal
one day and they're like, you need to go do
a d R. I'm like what. And I went in

(52:30):
and Angela is doing her thing, and then for some reason,
Brian and God bless actors, man, God bless you guys.
I could not say that line to save my life.
I was. I was a bumbling idiot. It was like
just a couple dozen more, and and Greg got right
here and he's like, say it, say it, you could
say it. And I should have just put my full

(52:51):
trust in this genius who I had watched for the
last nineteen years be the most absolute genius and I
and finally I mumbled it out and the moment I'm done,
he's all right, we got it. And I turned and
Rain does like a cop kick in the door and
he's screaming my line because he was coming into do
a d R after me, And I'm like, I'm like,

(53:12):
let's just have Rain do it. You know. It was
a funny moment, but my god, I felt like an idiot.
It is amazing. Do do when you're out with Kate?
Do people make jokes to you about about dating Meredith?
They don't even see me? No, you know a few

(53:34):
things have happened since. Well, first of all, when Syndication happened,
when it started hitting regular uh like a cable thing, uh,
Kate started getting bothered all the time by so many people.
And then when it hit Netflix, she was mid bite
and people would stop and say, can we get a
photo of that kind of thing? But now people are

(53:56):
stopping me like if it's it doesn't happen all the time.
But somebody goes, hey, weren't you in the finale? I
saw you in the finale. I've been like, oh my god,
it's really weird for me because I'm all about you know,
I can spot somebody spotting Kate from a mile away.
And we have a little code word which I'm not
going to tell you, but it's from the show, a

(54:19):
little I'm not I'm not going to private. I'm gonna
tell you private what he'll find out private. But um
I let her know, okay, in coming, you know what
I mean. So, uh, but that's not the code word.
What's not gonna Kate will be mad at me if
I tell you. Um, well, listen, I've been talking to people,

(54:43):
you know for now the last couple of years, which
has been amazing, and how willing people are now after
eight years of the show being done talking about it,
and as you just mentioned, you know, the sustained not
just success, but you know, as I say, not just survived,
but it's thriving now all of this time later and

(55:06):
this exploration that I've been going through. Now we have
collected it all together and uh, and we're coming out
with a book that's going to be launched really soon.
And you are a huge part of that book because

(55:27):
there are hundreds of never before seeing photos that you
took on set in some of the most intimate moments
during the show. So when we started talking about photos
for the book. I went, wait a second, there was
a cast book that I understand you helped put together

(55:47):
at the end of the show. That was like, it
was one of those things like right in front of
me the whole time. It's like right in my living
room on my coffee table. It has been for the
last eight years. And so I started looking through a book.
How did how did that come about? That that creation
of that amazingly beautiful book. That happens a lot, like
when Will and Grace was wrapping up, I did, Uh,

(56:09):
I did that. Almost every show doesn't now, And I
think that that is the greatest gift you can get
as a rap gift. I mean, that's the great the
great thing about being a photographer in general. Like even
if you're at a party or an event, you're going
to talk to every single person in the room. That
was my chance to work with every person. And a
lot of people try to ditch you and not you know,

(56:30):
but I was pretty sneaky and I was able to
get people. But yeah, that's that's always something really fun
to do. It's us so much work, especially at the
end of a run. But uh, it's yeah, like what
you're saying right now, it's like it's unbelievable. Well, it's
it's so, it's so beautiful and so for you know,
the last eight years, when people you know come over

(56:53):
to my house and we're talking about the show, always
refer to the book and they look through it and
they're like, oh my god, I can't believe you have
these photos. Well, now everyone in the world can't come
to my house to look at my book. But now
so many of these photos are going to be in
this book. And so I'm we're gonna I feel like
Conan O'Brien here, but we're gonna play a little game. Okay,

(57:17):
We're gonna play a little game. Describe that picture hashtag,
hashtag copyright, hashtag Brian Baumgartner, hashtag the Office, deep dive.
I don't know if that covers it, but I'm gonna
make these photos available on my Instagram so other people
can can mention it. But I'm gonna show you a
series of photos and this can be fast round. You

(57:39):
can say one word, you can describe something that you
remember from some of these iconic photos of the show.
So the first photo, Steve Carrell sitting at what looks
like a dinner party with the st holy girl. Uh
you know, light up thing behind sign was so bright, man,

(57:59):
it was so bright, which was the joke. But in
a still you want the actor to look good, so
the signs blown out. That was one of the most
unforgettable nights of my life. I can't even believe how
hard we laughed. And and that's hard when as the photographer. Man,
there were tears. Just my whole shirt was wet from
just laughing so hard with that stupid TV, the plasma TV,

(58:22):
plasma TV. Yeah, but this was this was intense. You know,
if I had one word for this intense because that
fight was intense, I'll try to give you one word answer. No, no, no,
you can describe more. I'm just saying it can be fast. Okay,
photo too, Oh Jesus Christ, Meredith with intense infusing because

(58:47):
it's never made. There was never a reason in the
episode of why her face looked like she was dropped
into a pizza oven. Okay, so so go ahead, you
can say this is her go ahead. Yeah, so there
was she got was it sunburned or if we're extremely
sunburned and we even did a big shot. I hope

(59:07):
to not ruin another photo, but there's a group shot
in the warehouse and she looks like this, and um,
there was no explanation why because the storyline was cut.
So I think a valuable lessons were learned during this
episode that you know, if you have something like this,
you better back it up. Yes, do you. She's just

(59:31):
as beautiful there as the moment you met her. Beauty
is skin deep. Brian, Oh no, no, no, she's she's
she's lovely. She's lovely, all right. Photo three, Okay, a
group of people, Oh yeah, around a giant one hundred.
Tell me about this. I think Phyllis's hair speaks for

(59:54):
all of us. It was so hot and dusty there. Um,
we were out at the cow. Let me go ranch,
I think. And you guys, uh, usually when they cut
a cake like this, they're telling you about your next pickup,
and that might have been what happened this day. But
all I knew is I never got any cake. You
never got any cake, and a gigantic cake like that,

(01:00:16):
I know. This is Uh. This was the celebration of
the hundredth episode, huge milestone in a show huge. I've
been there for hundreds of them. Yes, Company, Company, picnic
and you see Greg they're cutting the cake. But yes,
we were all we were all very very very very
hot out there in Malibu, alright. Picture four, Oh Jesus,

(01:00:40):
Yeah that was scary. Will Ferrell dunking of basketball over
me sitting on the ground. What do you remember about
this day? You know what, Brian, and it's I'm not
bullshitting you, but I could have easily shot that in
a way to see his face, but I wanted you
in there looking like you're about to get crushed. But yeah,

(01:01:02):
this this was the shot to me, even though he
used his right hand and covered his face. That was
a pretty crazy day. Yeah, that was a classic Will
Ferrell day where you keep you keep checking yourself like
is this really happening? Yes, he's amazing, he is amazing. Alright,
this picture here, Picture five, This is our final tablet reading.

(01:01:27):
Yeah that was I was crying as hard then as
I was when Steve left, but just seeing everyone's emotion
and everything else, and a lot of you guys held
it together. But again, I've been at a million of
these things too, a million of the last table read,
but this one, man, this was like, you know, finding
out that your grandparents are are both gonna doctor or something.

(01:01:52):
I always feel that way at the end of a show.
It's like there's a death in the family, but we're
still going to see each other down the road. But
it's always is that sad. Yeah, and a lot of
people have this photo and yeah, well, Chris Workman called
me and said, hey, I'd love to do this gift
for the cast, and uh he blew it up big.

(01:02:13):
But I remember I walked around the entire room made
sure I get all the faces. But this one has
so many great expressions and and it was you know,
and Chris just blew it up for everybody, and it's fantastic.
I'm sure it's hanging in everyone's house. And that's how
I I love to to judge my work by not

(01:02:34):
how much money I make or where my pictures are published,
but where they're hanging. That's important to me. That's awesome. Yeah, alright,
picture six and seven, oh Man, rough night. H that
was a very touching moment when she took that off
the wall. Um, but you know, I everyone always posts

(01:02:55):
pictures like the one on the right of you know,
when Steve laft I shot that famous shot at him
with the slate and uh and I got a wide
shot and everyone are bawling their eyes out so hard.
This was the equivalent of that. I do have another
picture of Pam doing the very last shot was Pam's

(01:03:18):
talking head. It doesn't appear and the show. That is
the last thing that I think her taking the picture. No,
it's as by the tree outside, right, But anyway, I
was outside of the conference room and I have a
photograph of everyone's silhouetted watching that final Have I not
sent that to you? It's everyone watching her talking head

(01:03:40):
through the window of the conference room. It's a beautiful shot.
I haven't seen it, but I'll send it to I'll
send it to Yeah, Chris, thank you so much, oh
my pleasure for talking, for being so candid and open
about your no, your experience, not just on our show,
but but your time I'm at NBC. I appreciate you

(01:04:02):
and your friendship. So thank you so much for coming
in and talking to me. And Yeah, onwards and upwards
to the next show, right to the next office on NBC.
I'm not sure if anything will rise to that occasion,
but we'll see, all right. Thanks, thanks buddy, And there

(01:04:33):
you have it. What a guy, Chris Daddy. Oh, it
was so great having you on. Thank you for sharing
your story with all of us. And I know that
you're a fan of this podcast, So my only question
is after today, what is your favorite episode? To all
of you listeners out there, thanks for coming back. Now.

(01:04:53):
If you come back next Tuesday, then you'll find we'll
be talking to another man that you all have been
dying to hear from. Hint, his first name starts with
the same letter as Chris's. Five seconds, okay, I'll tell
you it's Craig. Craig Robinson, the funniest man I have

(01:05:14):
ever seen on a stand up stage. That's right, Mr
Darryl Philbin himself. But until then, have a great week everyone.
The Office. Deep Dive is hosted and executive produced by
me Brian Baumgartner, alongside our executive producer Lang Lee. Our

(01:05:39):
producers for this episode are Liz Hayes and Diego Tapia.
My main man in the booth is Colin Tadeshi. Our
theme song Bubble and Squeak, performed by my great friend
Creed Bratton, and the episode was mixed by Seth o'landski.

(01:06:16):
Have you ever felt depressed about work only to have
your dad be like, why you're so down, So you
told him you hate your job, and he said, well,
you better talk yourself out of it. And then you thought, hmm,
I love to talk. I could host a podcast. And
then you went to Speaker from my Heart and started
a podcast and got good at it, then monetized it,
then quit your boring job and told your dad thanks
for the advice. And he was like, well, that's not
what I meant, and I don't understand what a podcast is.

(01:06:36):
But you seem happy, so that's great, kiddo. Do you
ever do that? Well, you could at spreaker dot com.
That's spr e a k E R. Ask your dad.
You actually don't. Big Brother, North Korea's Forgotten Prince is
a new true crime podcast that dives deep into the
life and mysterious assassination of the man wants destined to
be North Korea's next dictator. Join me Eaten Lee as

(01:06:59):
we investigate a twisting tale of espionage, palas, gossip, and
political backstabbing, and dive into the motives and suspects behind
the most bizarre assassination plot of the century. Listen to
Big Brother on the I Heart Radio app Apple Podcast
or wherever you get your podcasts. Coming February, Hi, I'm
Glory Adam, host of Well Read Black Girl. Each week,

(01:07:23):
we journey together through the cultural moment where art, culture
and literature collide and pay homage to the women whose
books we grew up reading. It's the literary kickback you
never knew you needed. Listen to a Well Read Black
Girl on the I Heart Radio app, Apple podcasts, or
wherever you get your podcasts.