Second Drink: Performance Review with Larry Wilmore

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Welcome to Second Drink Performance Review.

Oh man, I found some fun new stuff for this one.

I can't wait to hear, Angela.

This episode is really great.

We have writer Larry Wilmar on with us to share about his time writing on the office and also playing Mr.

Brown.

Yeah.

Larry was our very first writer from the show as a guest on our podcast.

I know, I love that.

Well, Jenna, are you ready for some fun new tidbits?

Yes.

Performance Review has a fan favorite cold open.

It's when Dwight has decided to ditch having a desk chair and instead he gets a fitness thingy.

Yeah.

Yeah.

The ball thing.

What do you call it?

The ball thing?

I mean, it's like a, what's that thing?

A medicine ball?

But no, medicine balls are the small, heavy ones.

Very heavy ones.

I don't know what I call it.

Well, I think the writers were trying to figure out what to call it as well because I found candy bag alts for it.

Oh.

In the shooting draft, Jim had this little bit of extra dialogue.

He would look at Dwight sitting on the ball thing, and then Dwight would look at him and say, do you know what this is?

And Jim would say, it's a hippity hop.

The good ones have handles.

And then they had a series of candybag alts for what to call it.

First, Dwight says, it's a fitness ball.

It changed my life.

Fitness ball!

I think that's what I would call it.

The next candy bag alt, Dwight says, it's a yoga orb.

Oh.

Well, now we're in the orb world.

Okay.

The next one, Dwight says, it's a fitness orb.

Isn't that the one we settled on?

That's the one they settled on.

I did an internet search and could not find it being called an orb anywhere.

Oh, what was it called in your internet search?

Exercise ball, balance ball, stability ball.

A lot of balls.

A lot of balls, no orbs.

That's what she said.

I think our writer's room was having some fun there.

Guess what else?

What?

There was a DVD commentary for this episode.

That we never talked about?

No.

It features Rain Wilson, Oscar Nunez, Paul Lieberstein, Melora Hardin, Larry Wilmore, Paul Feig, and me.

You were on a commentary and you didn't even mention it?

No, I didn't.

Oh man.

Well, it's got a ton of fun stuff, but I thought I'd share two things.

Okay.

First of all, when we interviewed Larry for this episode, he shared about the index cards on the writer's room wall.

We talk about that in this breakdown.

But I learned from the commentary that this episode was partly inspired by one of the cards on the wall.

Here's what Larry had to say on the DVD commentary.

This is the start of the Thursday, Friday.

This is going on here.

The Thursday, Friday idea, which I remember that when this episode was put together, there were about four different ideas that were just scrunched together to make an episode.

And Thursday, Friday was just on the board on a card.

And I said, what's Thursday, Friday?

Oh, yeah, that's when Delight thinks it's Friday, but it's Thursday.

I said, oh, that'd be great in this episode.

So it just became part of this episode.

It just seemed like a real funny thing to do.

It is.

I love it, Dorothy.

I love that.

Oh, Thursday, Friday.

Just a card on the wall.

Thursday, Friday.

Larry also said there was a runner with Ryan where he purposely puts himself on a treasure hunt to escape the suggestion box meeting.

It's in deleted scenes.

It starts in the conference room.

Michael takes a note from the suggestion box that says, look on the supply shelf.

And then Michael asks Ryan to go and look.

Then Ryan yells from outside the conference room in the bullpen, oh, hey, there's another note.

It says, look on the windshield.

Dwight says, which windshield?

And Ryan says, it doesn't say, but I'll look on all of them.

And he's basically, now he's out.

He's in the parking lot.

He's out of the office for the day.

Do you think this was because they needed BJ in the writer's room?

Probably.

This was a construct to get him out of all of the background work.

I bet.

I think so.

And then lastly, Jenna, you mentioned in our initial breakdown that there were some great deleted scenes for this episode.

I remember there were so many.

Almost 11 minutes of deleted scenes.

And you know, in talking to Dave Rogers, we know a lot of these deleted scenes end up in the Superfan episodes, but I think we need to hear a few of them.

Great.

First, Oscar has a talking head about why he is worried about his performance review.

It's really funny.

Let's hear it.

Oscar, I'm ready for you.

Today's performance review day company-wide.

And I'm a little concerned about my review.

I exceeded my sick days and my personal days because I just couldn't take it.

And I don't have a good answer for him.

when he asks me

amazing amazing he just couldn't take it it that's why he didn't come in and so now he goes into the conference room to have his performance review and he's prepared for michael to have a reaction to the fact that he's missed so many days and here's what michael says

michael says so and oscar goes michael i don't know what to say and michael goes you're in accounting oscar says yes yes i am

I'm sorry about the extra days.

I know it's past my limit.

Michael says, so, good.

Something Something to work on.

Being here more.

And then he looks around and says, I've always been a believer in people being here more.

Oscar looks at him for a beat, then looks to camera and subtly shrugs.

I mean,

does Oscar not know Michael?

I don't, I wouldn't have worried.

I don't think Michael's tracking anything outside of his own interests.

I know.

Next up in deleted scenes, Jim asks Michael about his date with Jan.

Oh, in baseball terms.

And Jim is clearly messing with Michael.

I went to the shooting draft, and part of this is scripted, part of it is improvised.

Let's hear it.

That's

great.

Yes, I did.

Yeah.

Do you have fun?

Yes, I did.

Did you

go to first base?

Hell yeah.

Oh, yeah?

Second?

What?

Second?

Kind of.

Yeah.

Over the shirt.

My elbow.

Okay, so close call and second.

Was there an infield fly?

Yep.

Wait, yes.

Pop-up.

No.

Later there was.

Really?

Yes.

So you got the signal from the third base coach.

You know what I'm saying?

Like, if there was a, you know, fly out to deep right,

you know,

that runner on second, he tagged up, didn't he?

I didn't, you know,

it was dark for one thing.

In the shooting draft, this scene ends with Michael saying, you know,

I'm more of a hockey person.

Like, oh, I like that.

Yeah.

And then, lady, Michael makes a phone call that you will not believe.

I don't even want to say more than that.

You just have to hear who he calls.

Okay.

Yeah, that got a little out of control.

Jan's taking a break, which is fine.

I'm doing the same, just chilling.

Get my mind off of us.

She's right.

I need to be more professional at the office.

When I'm at work, I need to focus on work.

I should call her ex-husband.

Hello, is this Art Gould?

Hi there.

My name is Michael Scott.

I work at Dunder Mifflin.

I believe I work with your ex-wife, Jan.

Yeah, that's right.

Yes.

I was wondering if I could ask a personal question about her.

Okay, well, could I ask anyway?

Uh-huh.

Well, I'm just going to ask.

When you guys were dating, was she sort of easy to get and then really hard to get?

Yeah, that Gould is a real interesting guy.

Gem.

Yeah, and then

it goes on, and Michael's like, well, if that phone call is any indication, the guy is not a nice guy.

Like, any wonder it didn't work out.

It is really funny.

Oh my gosh.

All right.

Finally, we need to wrap up this second drink with a Michael talking head from deleted scenes.

I would describe it, but I don't want to ruin it.

Another one.

Yes, yes.

What is an office?

Is Is it a group of people?

Maybe.

Is it an idea?

Of course, yes.

Is it a living organism?

Exactly, yes.

And any single-cell organism has to have a spine, and that's me.

But the spine is always controlled by a brain, and that is Jan.

But the brain needs a heart, and that is me again.

So ironic.

You know what?

The heart is smarter than the brain.

But the brain is so effing hot.

Okay.

I am pretty certain I was there when he did that talking head because I am having like a flood of memories come in of being around the monitor watching that and loving it so very much.

Oh, I'm so glad that exists somewhere now.

That's so great.

But the brain is so effing hot.

Effing hot.

Well, that was my second drink.

This is such a great episode.

Thank you so much for those, Angela.

And now, everyone, here is our breakdown of performance review with Larry Wilmore.

I'm Jenna Fisher.

And I'm Angela Kinsey.

We were on The Office together.

And we're best friends.

And now we're doing the Ultimate Office Rewatch Podcast just for you.

Each week, we will break down an episode of The Office and give exclusive behind-the-scenes stories that only two people who were there can tell you.

We're the office ladies.

That's us.

Happy New Year.

Yes, this is our first episode that we recorded after our two-week Christmas and holiday break.

We are back, guys.

We're.

What?

I don't know.

We didn't have an end to that sentence.

I didn't.

I was going to say, we're back.

We're freezing our butts off.

It's cold in here, and I just had to wait, like, felt like almost a full 10 minutes for Angela to lay all her cards on the desk.

It It is such a fun thing.

I'm sorry, Lisa.

Did you say allow all her cards on the desk?

I said

lay out all.

Lay it all.

Lay it all.

Is that St.

Louis?

Oh,

you're just mad because

of waffle ball and chunk it.

Hey, you know what?

People in Texas say chunk it.

Here I was being like all self-conscious because you said, no, it's chuck it.

Then I'm talking to my mom over the holidays and we're talking about going through at the garage and she goes, ah, just chunk it.

It's a Texas thing, lady.

It is.

I will admit it because I came home that day and I was telling my husband Lee, who grew up in Texas,

all about the chunk it thing and how much it made me laugh.

And he said to me, Jenna, I moved to Texas in middle school and I had that same conversation.

Someone said, just chunk it.

And I said, what?

Chunk it.

He's like, they say it.

They do.

It's like pop and soda.

Thank you.

Right?

Thank you.

And I guess sorry, Texas.

Don't be sorry.

Just chunk it.

And I guess in St.

Louis, they say, I'm not liar on the table.

No.

Lay out all your cards.

Lay out all your cards.

Shall we begin?

Let's begin.

All right.

Performance review, season two, episode eight, written by Larry Wilmore and directed by Paul Feek.

I'm going to give you a summary.

In this episode, Michael is supposed to be conducting performance reviews of his staff, but instead, he calls everyone into his office one by one to help him decipher a voicemail from Jan.

Because if you remember in the previous episode, he and Jan hooked up.

They did.

They smooched in the parking lot, maybe played some grabby games back at her place.

Yeah.

And he is convinced now that they are boyfriend and girlfriend, even though it's clear that Jan has said this is a one-time thing.

Please make nothing of it.

Michael is determined to read between the lines.

Also in this episode, Pam and Jim prank Dwight by convincing him that it is Friday instead of Thursday.

The end of the summary.

Summary is done.

Jenna, that was a fantastic summary.

Thank you.

Well done.

Thank you so much.

All right, you want fast fact number one?

I do.

Fast fact number one, I said, this is written by Larry Wilmore.

You guys, I hope you remember he played Mr.

Brown in our Diversity Day episode.

Yes, Larry was a writer and producer and an amazing performer.

Yes, and we are going to speak with Larry today.

Larry is so great.

I have such fond memories of working with him.

You know, he created the Bernie Mac show.

He has been a correspondent on The Daily Show.

We've talked a little bit about this.

Super talented guy.

I'm really excited to talk to him because he was just, he's so smart and funny.

I think that was one of the things about our writers room is like how freaking smart they were.

They're really smart.

I think people underestimate how smart you have to be to be a great writer.

Yeah.

Like they really go hand in hand.

I think,

I don't know.

Sometimes I wonder, have we wasted all these minds?

Should they be off making scientific discoveries?

Because some of them were some just like the most brilliant people I've ever met and they're just sitting writing great jokes.

But then without them, we wouldn't have the fitness orb.

Fast fact number two, I was really sick in this episode.

You were so sick.

Do you remember that?

Not only do I remember that you were sick, but I wrote down a quote that I read online.

It says, Where did you read this?

On Wikipedia, on the Office Performance Review Wikipedia.

It says, Jenna Fisher came down with a cold.

Instead of postponing, however, Fisher memorized and performed all her lines, resulting in fellow cast member Angela Kinsey calling her a trooper.

You were in this episode because you were really, really sick.

But that's one thing I think you guys, I don't know if you guys know this, but when you're on a set and you get sick, you don't go home.

No.

They literally prop you up because so many people, like what, 300 people, their whole day revolves around that day's filming.

Yeah.

And so it's.

They can't shut shut down the filming just because you don't feel good.

Yeah.

So a doctor will show up, give you a shot, and you stay at work.

Oh, yeah.

I mean, I've seen, I've seen them tape people.

They're like, oh, have you stopped vomiting for 30 minutes?

Let's get you on set and see what we can grab.

Oh, yeah.

Like that happens.

So I was really sick.

This is my first time ever having to perform this ill.

I took tons of Sudafed.

I had a sinus infection.

You were a little loopy.

I was super loopy.

Here's what's crazy.

At the end of the week, Greg Daniels called my manager about my performance in this episode.

And my manager called me.

I get this message.

Jenna, please call me.

Greg Daniels has called about your performance in this week's episode and I want to speak with you about it.

Oh, shiitake mushrooms.

I thought I was being fired.

Yeah.

I thought, oh my gosh, this is it.

That's it.

I don't know why.

Did you, I, as an actor, especially in the early days and on early shows, I always felt like I could be be fired at any time

me and Brian and Oscar were always like accounting's totally replaceable we could be fired at any time well that's not true but yes that you have this feeling like I'm failing constantly yeah so my manager says Jenna we got this phone call and she got all my agents on the phone too which you're like oh my gosh they only do that if it's great news or horrible or really bad news yeah yeah so I'm like and she's like we received a phone call from Greg Daniels because he wanted all of us to know how outstanding you were in this episode, that it was some of your best work.

And to please say, whatever it is you did to prepare for this episode, keep it up.

Thank Sudafed.

I was like,

I don't know what to do with this compliment.

Clearly, I'm a

fantastic actress on Sudafed.

Yeah.

Well, okay.

Okay.

Should I move on to fast fact number three?

Yes.

All right.

Fast fact number three is also a belated fast fact.

I realized I missed something a couple of episodes back in the fight,

which applies to all the episodes moving forward, talking about cold opens.

Oh,

do you want to tell folks what a cold open is?

Yes.

So in a script, scripts usually have like a three act structure where you tell the story.

Right.

And like a little mini three act.

Yeah.

Well, we started doing this thing that we called the cold open and it's before the credits and it's a a little joke or almost like a standalone moment that might apply later to the episode, but also might not.

It might not.

It's just like its own little moment.

So that was something that our show did.

We had these little cold opens and then we're also going to start adding tags soon.

Ooh, tags are fun.

Tags were at the end.

At the very end.

We would come back from a commercial break and you'd get like a seven second tag.

They were very short.

Really short.

Another little joke.

Yeah, they were always really short, like maybe just one page, three lines, just something really tiny.

Yes.

In this episode, we have a cold open

that is one of our most famous cold opens, the fitness orb.

Yes.

Which is so great.

And we had a ton of fan questions about this, probably our most frequently asked moment.

About this episode for sure.

Definitely.

For example, Fernanda Fuentes and Derek Ford

both asked, how many times did you have to film the cold open with Dwight's fitness ball?

And David Nicholas asked, how many fitness orbs did you go through before it popped just right?

Well, everyone, it was not meant to pop.

Oh, first of all.

Jenna, you look really excited.

Are you sitting on some info?

I'm sitting on some info.

I traded messages with Phil Shea.

Phil Shea, Props Master.

Yes, he told me all about the fitness orbs.

So, first of all, he bought 17.

17 fitness orbs.

Yes, and he practiced with John using three of of them.

Phil Shea sat on them and John like hit the

Phil Shea was such, talk about a trooper, Phil Shea.

He's amazing.

So the idea was that John would stick the scissors into the fitness orb and it would deflate very slowly.

And the camera would be in front of Dwight's desk and you would just see him very slowly melt to the floor as Jim very smugly.

Looks on.

Yes.

That was what was in the script.

So

they practiced three times.

It worked perfectly.

And they had 14 left for the scene.

And Phil said to John, as long as you don't hit the seam of the ball with the scissors, which would be like a one in million chance that you could do it, the ball will slowly deflate and it will work as planned.

So it's also very hard to see the seam.

Oh, yeah.

Yeah.

I mean, yeah.

You would have to hit it just right.

Yes.

It would be.

basically impossible to do.

Yeah.

So they did 13 takes

and it worked just right and everyone was happy and they were about to move on.

And Phil said, I have one more ball.

Yeah.

So Paul Feeks said, oh, what the heck?

Let's just do one more.

And in all the 13 takes, you guys, Rain as Dwight slowly sunk to the ground, like,

yeah, right.

And it was perfect.

So

they have an extra ball.

They're like, just, we'll just do one more.

Let's do it.

On that last take.

John hit the seam by accident.

And you can see the shock on Rain's face when it exploded and he fell to the floor we were all completely shocked we were like oh my god

and you can totally see John break you see his shoulders and he he very quickly oh he's such a pro he turns his back and his legs diamond out of the seam yeah he just like leaves Phyllis was really surprised too I swear you can hear somebody say what like either John or Rain is like what is happening and they were going to cut that out.

They were like, oh my gosh, we're so sorry, Rain, are you all right?

We were laughing so hard.

And when they went in to edit the episode, they put in what was scripted.

They put in the slow deflate.

And it was Larry Wilmore, the writer,

who said, you have to put the blooper one in.

You have to put the fast pop in.

Yeah, he fought for that.

He fought for that.

And he was right.

That is an amazing moment.

That is an example of it just a perfect cold open.

And now I think we should take a little break and we'll come back with our interview with Larry.

Yes, we're gonna come back and talk to Larry Wilmore, writer of this episode.

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All right, Sam, let's give Larry a call.

Yeah, let's call him up.

Hey, let's go.

Hi, Larry.

It's so nice to hear you guys.

Oh, my gosh.

Sam, we're so happy this worked out.

Congrats on the pod, guys.

What a great idea, too.

Oh,

thank you.

We're loving it.

I mean, you know, Larry, we're just two chatty BFFs that

get to talk about our favorite job ever.

From the beginning.

From the beginning.

Okay, well, Larry, thank you so much for joining us.

Do you know you are our first writer as a guest?

Wow.

Woo-hoo.

And so one of the questions we're asking everyone that comes on is, how did it come about that you became part of the office?

God, I have so many fond memories of that time.

Mine is a little bit more complicated, I guess, than everybody else.

I had just started a deal with NBC at that time.

I had just done the Bernie Mac show and I knew Greg from before.

I had done a show called the PJs and he was on King of the Hill and we used to see each other all the time and Greg was a buddy of mine and he was he had never done a single camera show before and NBC wanted to know if I wanted to consult on that when I was developing, you know, just to be another voice in there.

You know, of course I thought it was great because I had actually seen the office years before

when I went to England to do this sitcom seminar type thing or whatever and people were screening the sitcoms and I was screening the pilot of the Bernie Mac show.

And Ash Atala, who was a producer on the original Office, was screening the comic relief episode, I think, of The Office, the one where they wear the red nose is that one.

Yeah.

And I had never seen The Office before, and it was great, of course, you know.

And we were all like congratulating each other afterwards.

And I remember he came to me, he says, Larry, can you promise me one thing?

I said, sure.

He says, please don't let them take this to America and ruin it.

I go, of course not.

I said, by the way, if it ever goes to America, I won't have anything to do with it.

Smash cut into

here.

I am working on the American version of the office.

And it's funny, in the beginning, this is something, I don't know if you guys, how much you realize in the beginning of what was going on, that there was a lot of negativity in Showbiz about our show.

We were kind of sequestered from it.

Because remember we were shooting in that old warehouse in mid-L.A.

that first five episodes, you know?

Oh, yeah.

And people thought we were going to ruin the office.

Like, I would talk to writers around town, and they were real snotty about it.

They said, so what are you working on?

I said, oh, I'm working on the office.

They go, oh, okay.

I'm like, what?

It's good, guys.

It's going to be good.

And Greg, you know, as you guys know, so brilliant.

I feel Greg's philosophy was just write it as if we're going to go off the air, you know, so write ourselves in the corner, especially with Pam and Jim and all that kind of stuff, and just, you know, just have as much fun as possible.

So there was such a great feeling in the writer's room that we could just do whatever we wanted because, you know, who cared?

We might be off the air.

We may as well just go for it.

That's such a good insight because I felt that way too.

I felt like we were making the show in a bubble or making it for our own amusement sometimes.

Do you remember our table reads in the beginning?

They weren't around a table.

We would just sit on the set.

We'd all pull up our desk chairs and we'd sit in a circle.

And then during our hiatus, I did a guest star and I went in for the table read and it was like a big deal.

There was a big table and everyone sat around it and you had like a little placard with your name and like your lines had been highlighted and there was network people there.

And I just remember that first season of The Office, we really were were just sort of like on our own, it felt like.

Yeah, we were the little engine that could.

What was it like in the in the writer's room?

The way the writer's room went on the office, especially in the early days, was whatever idea we had would go in a little index card and would be slapped on the walls.

You know, after a while, we had all these ideas that were just slapped on the wall that were just really funny, comic ideas of what could happen.

And in many instances, the way we created episode was we would put like two or three cards together and that would be an episode, you know.

And that's how ideas were generally generated.

Us just making each other laugh.

And whoever came up with the idea didn't necessarily write the show, by the way.

It was very democratic in that way.

Greg would just hand it out to whoever and you would just write that episode.

So everybody had a hand in all the episodes.

You know, even though we each went out and wrote a draft, we all contributed to the episode before it went out.

And of course, when it came back in, you know, and that was a lot of fun.

My one regret was in the second season, I came up with that Halloween episode idea, and I really wanted to write that one.

I was like, no!

I was so salty that I didn't get to write it, but you know, you didn't care.

You got over it, it was still fun.

But that idea just

from me thinking it would be very funny if Michael had to fire somebody while they were in costume.

It just came from that simple joke, you know, like they would fire somebody during Halloween.

And you're right.

Episodes just started from just a central joke like that, and it would expand out to an episode.

We so enjoyed your performance in Diversity Day.

I mean, we knew you as a writer, we knew you as our, you know, our writer-producer, but then when you got to to perform, you were so fantastic.

And then I had just such a new appreciation for it.

I remember thinking you were amazing when we were filming it.

But then watching it,

you were so perfect as Mr.

Brown.

Oh, thank you, Evangel.

That's so nice of you.

Ken, I had a relationship with as well.

He directed The Pilot of the Bernie Mac show.

And I knew Ken very well, Ken Kwapas, who was the director.

And at the time, I was kind of going through a transition in my career.

My evil plan had always been to create a show for myself.

I started my career as a performer as well, as a stand-up and an actor and all that kind of stuff.

And I started writing and producing in television because I felt like Hollywood couldn't find me.

It was better for me to create a space for myself.

I was just, the kind of comedy that I did was just a little different.

And I really enjoyed writing and producing once I started doing it.

And after the Holberry Mac show, Dubaca, I thought, well, now it may be time to start thinking about this other gear.

And when I was on the office,

I remember reading, I think I read that part at the table, but I didn't have an intention of playing it just because I was real busy.

And I really believe that,

you know, we should hire actors, give actors a shot to do this, even though Greg's philosophy on the show was he really wanted the writers to perform too, which was really fantastic.

And, you know, people like Mindy and BJ and even Paul Lieberstein, who, by the way, I had hired on the Bernie Mac show, I had no idea Paul was that good of an actor.

I would have hired him on my show because he was so great.

And it gave it such an interesting feel, you know, to have writers being a part of it and to have, you know, people who were in the background, like Angelo, some of the ad-libs you guys started doing and the life, the way you guys brought those characters to life with not really a lot of material in the beginning was fantastic, you know, just even the looks you guys gave and all that stuff really gave this organic feel to it, you know.

But in the beginning, I really didn't want to play that part, and Ken kind of talked me into it.

You know, just, I just wasn't thinking about it.

I just thought, yeah, we should be bringing in actress.

But then I realized that's kind of what we're doing on the show is we're all kind of like pitching into this thing.

So once I embraced it I just ended up just having a lot of fun and by the way I saved some of those outtakes from it and Steve Corell was so hilarious as you remember when he was doing the whole Chris Rock thing It was just so funny I was just crying laughing which we probably couldn't even do that episode today, you know because it was so inappropriate in so many glorious ways, you know

Do people approach you and call you mr.

Brown all the time.

It's crazy people say like I have all these different I guess identities to people like some people know me from the nightly show the daily show some people just know me from the office and from that role you know and from other things that I do but it's amazing and they don't say Larry Wilmore they say mr.

Brown like that's what they say and that's it done that's who I am in their minds it's not gonna change but I consider it an honor I think how how many times guys do you get to play a part where I was on screen for what a minute and a half, two minutes, and people remember that years later the character's name?

I mean, that's an honor to do that, you know.

So the biggest thing people want to know about this episode, Angela, you went through the questions.

It's about the suggestion box.

They all want to know what was written, what was improvised.

I know I got one line improvised in there that made it in, but they were wondering, like, what were ones that didn't get read?

Like, you guys must have pitched all kinds of things for that suggestion box.

Not as much as people would think.

I think pretty much my first draft made it through, I think, to the floor on that one.

The way that when I wrote that, remember the old Johnny Carson show where his psychic was Ed McMahon, and Johnny would do this bit called Carnac where he would read something and Ed would repeat it.

You know, he could say,

the fur from a camo, and then Ed would go, the fur from a camo, yes, you know, and he would do this thing, and it was so ridiculous.

And I thought it would be very funny to put DeWaite in that position where he had to repeat these things with Michael, and that's kind of how I constructed it comedically.

But it was, you know,

the way that it was constructed was very careful to lead, you know, to the way that it did, you know.

So I don't remember there being a lot in the suggestion box.

My recollection of it is that those things were chosen very carefully to go down a certain path, you know, rather than have a lot of things that were in there.

That's kind of how I remember it.

That makes total sense.

That makes total sense.

And also, if you think about it like that, when you watch it, there are camera movements that look very deliberate, you know, because you're panning to the people that have something to say.

The thing of what's great about the office is things that feel like, by the way, of course it was a very talented cast and your guys' ability to improvise was great, but the opposite was we were lucky to have on that too is that we also created moments that looked very real and that sort of thing.

And that was kind of the magic of the show is we have both of those elements in the show.

And so

that scene, you know, I remember very carefully writing that scene because I knew the rhythm was important in it, the comedic rhythm, you know, and so I think that's why there wasn't a lot of rewriting on it because it had that certain rhythm to it that we we wanted to kind of keep intact in it.

Well, I think something you were mentioning that people often don't realize how written the office is, that people think it's mostly improvised, which it's not.

It's mostly scripted.

But you guys would even script some of those looks.

You would, in the script, it would say camera pans to catch Angela looking judgy by her desk.

Like you started to write in those moments.

Yeah, and it is that combination of thing.

It's the combination of us seeing what you guys were doing and then writing towards it.

So

it's the push and pull of that, you know.

Especially, like, that's why those first five episodes are so important because all the stuff that, you know, you guys were doing, we noticed all of those things.

Because remember, during those early days, I think all the writers were in the set the whole time, you know.

I think we were all there, you know, watching it, you know.

and just learning, you know, from what you guys were doing and trying to write towards it and that kind of stuff to help develop it and everything.

It did feel like a real creative collaboration.

I always felt that way.

And it's something

I miss when we go to other shows now and work on other things.

I really noticed the same, you know, and kudos to Greg Daniels, you know, who just wanted to do it differently, you know, and wanted to do this collaborative process, you know, with both the writers and the actors and performers.

And I don't no one felt threatened by it.

And look, g think about Steve Carell, who's the star of the show, never felt threatened by any of this stuff, you know, and just was so collaborative and just funny and just love for other people to shine.

Because we've been invisible long enough, we know how that can be the opposite, you know.

Or, you know, who's this person getting all these laughs, you know, why am I not getting these laughs?

The show had something else that was really special.

As you remember, Steve Merchant was also the co-creator of the show with Ricky Gervais.

And they would come by sometimes.

And I remember talking to Steve about it, of what he felt the show really was.

And from Steve Merchant always said that for him, the show was a romantic comedy.

And it was his idea the show was really about Jim and Pam.

Tim and Don was the show to him, Jim and Pam.

And to have that as part of our show, guys, it gave it this great, gorgeous center that was always something great to go to.

It really made like the harsh humor or the outrageous humor, it gave it a center that was special because we really wanted to root for these people.

We hadn't quite seen something like that.

And I never forgot that.

I was like, wow, you know, sometimes in our minds, we're thinking of funny jokes and outrageous things.

Yeah, Diversity Day.

Those things are funny.

But when you have that romantic story inside of it, man, it just raised it to that next level.

To me, it was really what made, especially in those early years, you know, when we didn't know what was going to happen with them, you know, what's going on here?

Is this guy getting his heart broken?

Does Pam know what she's doing?

You know, all those questions, even when we didn't quite answer them, they were always lurking in there.

And things like that really enrich your story.

You know, it really makes it a joy to write that type of thing.

Even to this day,

I'm still trying to figure out a romantic comedy to do on television.

I think it's kind of underserved, you know.

Larry, thank you so much for coming to be on our podcast.

I know you're super busy.

You have a ton in development.

You're producing so many things.

You know, one of my goals always has been representation, trying to put stuff on television, whether it's people we don't get a chance to see or stories we don't get a chance to see, always as much as possible.

So that's always in the back of my mind.

And you have a podcast.

Yeah.

Larry, one more black on the air, people can catch on the ringer networks too.

Thank you so much for coming on.

This is amazing.

Thanks for having me, you guys.

I remain big fans of both of you.

Congrats on all your great success.

So you guys have to come on my podcast now, now that I did yours.

Okay.

Big deal.

It's a date.

Okay, you got it.

It sounds great.

All right, Larry, thank you so much.

Thank you, Larry.

We love you.

Aw, that that was so great.

He's so smart and funny.

Why do I get so emotional every time we just hear the voices of the people we worked with?

Because we were a family.

We were a family.

All right.

Well, we're going to take a break so I can be emotional.

I'll pull myself together and we'll be back to break down the episode.

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Larry is fantastic.

That was great.

That was so fun to talk about.

We're so lucky.

We're so lucky.

All right, should we get into the episode?

Let's get into performance review.

I know we covered a little bit of the stunt aspect of the fitness orb,

but we have not discussed the other elements of the cold open.

Oh, you know.

The romance.

You mean the look to camera that Dwight gave at 50 seconds?

Yes.

When Jim is like, you're not having sex.

It's like,

what does that look about?

I think we're going to find out.

I think we might.

All right.

So in the first scene, Oscar is walking out of Michael's office.

He's just completed his performance review.

And Michael calls Pam into his office.

I think you can tell in my talking head there that I'm very sick.

I don't know.

I think I sound very nasally.

I mean, if you can't tell, you're literally like, here's a befarmeth review.

Yeah, dub.

I don't know.

So in that office, when Michael makes Pam listen to the voicemail from Jan, that was my sickest day.

That was the day I was most sick.

And I think you can see me a little bit nodding off, like not nodding off.

I think you can see me drifting from the pseudo-fed.

Like I'm a little like.

Your eyes are a little glassy.

A little dilated.

They're a little glassy, but it has one of my favorite scenes.

Jenna, it made me laugh so hard.

You and Steve were so great.

And I just loved when he's like, Pam, you're trustworthy.

Wait, can we read?

Let's act it out.

Yeah.

Here, do it.

All right.

I'll be Michael.

You be yourself.

Ready?

All right.

Pam, you're trustworthy.

Thank you.

And a woman.

Oh, no.

It made me laugh so hard.

I know.

She just knows where that's going.

And it's not good news.

So we had a fan question about this from Luke J.

Was the scene with you talking to Michael about Jan's voicemails improvised?

No, it wasn't.

But here's an interesting fact.

We weren't listening to a recording.

That was actually Malora, who plays Jan, on the phone.

saying that voicemail in the exact same way over and over again.

Yeah, and he would hit that button.

He would hit that button and she would be cued to say it.

I think she was right in the conference room.

I think she was right around the corner.

She was.

She was on set

talking through the phone.

And I feel like our second AD would cue her.

And whenever Michael hit the button,

she might could have even have seen him, actually, depending where she was standing.

That was so funny.

So good.

And there's deleted scenes.

And if you look at it, there's one deleted scene where Steve keeps pressing the button like 12 times and she just had to keep saying, I guess I missed you.

I guess I missed you.

I guess I missed you.

I missed you.

I guess I missed you.

Until she starts laughing.

Yeah, because it was like insane okay at two minutes and 51 seconds there is a flashback to the exterior of the chilies and you get a wide shot of that chilies from the previous episode that we talked about and you see them kissing outside

i really scrutinize this shot of the chilies oh i want to hear it Remember in the last episode, we said, was this the same chilies that we shot the Dundees?

Oh, yeah, you were obsessed with that.

Now I think it was not.

Really?

Based on the exterior, exterior, this is a parking lot.

Yes, this shot is different than any shot we got in the client.

This is a wide shot, and I think it looks like a different parking lot and a different exterior than the one that Pam comes out of the Dundee's screaming, woohoo.

All right, I'm going to have to go back and look at that.

Okay.

Way to go, lady.

Also, maybe no one cares, but we all care.

I have a card from five minutes.

Is that jumping too far ahead for you?

Who knows?

Okay, who knows?

I don't write time codes.

I have a card for five minutes, five seconds.

It's just me commenting, you guys, as a fan.

I just thought John's reaction when he as Jim realizes that Dwight thinks it's the wrong date,

his performance in that little moment is so brilliant because it's really letting you in on that he's figuring something out.

Yeah.

And it's subtle and it's perfect.

And John, you crushed it.

Yeah.

Those are the, those are the ways that John just like,

he's amazing.

He's so good.

John, you're so good.

I'm like, I'm just like,

I've always been a fan and I think I'm just like becoming a bigger fan as I rewatch.

Here's something about that same scene.

I don't know if you noticed, but in the background over John's shoulder, Michael's door is closed.

Here's a little tidbit.

When you see scenes between Jim and Dwight and Michael's door is closed, that meant that Steve didn't have to sit in there.

Oh, good for Steve.

Yeah, he would get a break from having to do the background work because when the door was open, you could see him at his his desk, but when the door is closed, you can't.

Guess what?

None of the rest of us had doors.

Nope.

None of the rest of us had doors unless you were in the annex.

So

Steve got out of the background for that couple of hours that we shot that scene.

I have a card for seven minutes, 50 seconds.

You guys, it's a scene in accounting.

So here's the thing.

When Brian and Oscar and I got to have a scene that was solely in accounting, we would get just giddy.

We would get so excited and like we would come up with all of these bits and they would always be like, guys, we don't have time for all of that.

We used to joke, you know, like I would say, like, guys, it's not our show.

It's not called The Accountants.

So we were really excited.

But when I was watching this, I thought, oh my God, Kevin is such a gossip.

Oh, yes.

So gossipy.

When he's like, they made out, you know, and how it sex.

Like, he's being so gross.

And then, of course, what the heck does my comment mean when I say office romances are nobody's business but but the people involved.

What's happening between Dwight's look and that line?

I know.

We're weaving something together here.

Something's happening.

I want to talk about Stanley's meeting with Michael.

Oh, gosh.

You know what?

Leslie David Baker is so brilliant in this scene.

I actually wanted to call Leslie.

Dang it.

Okay, Leslie, we're going to call you.

You've got to come in.

I wrote on a card.

Just tell, just read what I wrote.

On the ghetto.

On the ghetto.

Well, that was a fan question.

Drew's fire asked about Stanley saying on the ghetto instead of in the ghetto.

Was this intentional?

It was.

It was not improvised.

It was written.

Paul Lieberstein wrote the line on the ghetto.

And there was a debate in the writer's room about which was funnier for Stanley to say in the ghetto or on the ghetto.

On the ghetto one, Leslie David Baker delivered it perfectly.

I just love how he is working Michael so hard in this scene.

I loved watching Pam work Michael and then Stanley and be like, oh my gosh, they're all doing it.

They're all giving him relationship advice to get a good performance review.

Yes.

Well, that's what you have to do.

I also love the scene in the kitchen with Jim and Pam, where it's a really quick scene where Pam's just walking to the bathroom and they just quickly download each other on the day.

Oh, by the way, Dwight thinks it's Friday instead of Thursday.

And then Pam says her little tidbit to Jim and they move on.

That totally reminded me of me and my husband.

Yeah.

Sometimes that's all you get.

You just between packing lunches and doing laundry and pickup and drop off and all the things that keep the house running, you got to just, you'll get like two sentences out before someone needs something from you.

And sometimes it's like a big reveal because like you walked by and you're like, they definitely hooked up.

He's like, oh, yeah.

Dwight thinks it's Thursday or Friday.

Oh, great.

Yes.

Big news.

Big news, but you don't have a ton of time.

Exactly.

And I feel like Lee and I download one another sometimes, you know, with stuff like that.

Big stuff.

Scenes like that make our show so special, I think, because they don't feel like a scene.

You really feel like you're just watching someone live their life.

And I think it's super unique to our show.

Like you're just capturing a moment in time.

And I also think.

It's such a great way to write the romance between Jim and Pam.

Like, I think that's intimacy, right?

Like, that's why it made me think of me and my husband, husband because they have to grab this moment of intimacy wherever they can fly.

Yeah.

And so it really makes them feel like a couple because you can do that with someone you're really close with.

Yep.

You can download big info in two seconds.

Yo Khan.

I don't know why I said it like that.

Yokan.

I have a card.

What is it?

Nine minutes, two seconds.

Kelly's hair is up.

What?

Kelly Kapoor.

Hold on.

Her hair is in a bun or is updo this whole episode.

Oh,

what is happening?

I don't know.

Oh, yes, I have that too.

Michael tells everybody about the suggestion box meeting, and Kelly's hair is back up in a twist with a Paisley shirt.

But I did think that Mindy was acting more Mindy-ish.

Yes.

So her performance is evolved, even though her hair is fussy.

Her hair is fussy, but she's becoming more like Mindy.

Angela, I have to go back though.

Oh, what?

We have to discuss your youth beauty pageant.

Oh, yes.

Okay.

And your love of being judged.

Jake Peters asked, What was Angela's talent when she was on the pageant circuit?

Angela, what do you think her talent was?

I mean, there was a prop photo of me twirling a baton.

I don't know if it ever made it in an episode.

Oh, I remember that.

Yeah, um, so I don't know if I was a baton twirler.

You know what?

If I got to pick what Angela's beauty pageant talent would be, it would be that she would play the crystal glasses.

She would have a table of glasses and be like,

and she'd play like maybe like some old gospel tune.

I feel like either that or the bells.

Oh, the bells with the

gloves on.

Yes.

Yes.

Yes.

Those two things.

Okay, I have something.

At nine minutes, 16 seconds, there's another scene.

between Jim and Dwight at their desks.

This is when Jim is on the phone and you can see that Michael's door is open and Steve is in the background.

So he did not get out of that one.

I like it.

I like how, like, I would track who was sitting with Oscar in his booth at the Dundee's.

This is your, this is like Steve's door is open, Steve's door is closed.

This is going to be my thing.

Yeah.

I'm just going to be like, you're in charge of the door, lady.

I'm okay, great.

Okay.

I'll be door.

I'm on door.

Hoardor.

Oh, you don't watch Game of Thrones.

I don't.

What is it?

What door?

Horror.

Horror?

Whore?

No.

Micah.

Is it like Ho-door?

Oh, sorry.

I said it wrong.

Ho-door?

It's ho-door.

Ho-door.

Ho-door.

It's sort of the same.

What happens?

I mean, all that's coming to mind for me is prostitution.

No, no.

Hodor.

Don't listen to my southern accent.

Ho-door.

It's hodor.

Evenor.

Ho?

Hodor?

Jenna, it's not a problem.

What happens with a door?

Just tell me.

Well, it's not about prostitutes, okay?

Well, what is it?

It's a person.

Hodor is a person.

Oh, it's not a door?

No, but a door is involved later.

I don't want to ruin it for you.

It's my hope that someday you'll watch Gay.

I'm never going to watch it, Angela.

I'm sorry to tell you.

It's not my genre.

What?

Fantasy is not my genre.

So you don't like Lord of the Rings?

I've never seen it.

I'm out.

I'm out.

She's leaving.

She took off her headphones.

No, you know this about me.

I mean, I sort of knew it, but come on.

Lord of the Rings.

It's just, you know what it is?

I'm not a fan of having to learn all new rules about different

new planets or

mythical creatures and

powers.

Hold up.

What

I don't, I can't even, I almost can't say this out loud.

What?

What?

Do you not like Star Wars?

No!

I'm afraid to speak right now.

No, Jenna, are you kidding?

You don't like Star Wars?

I

have not

ever

seen

the Star Wars movies.

No!

Except I think as a child, I saw The Empire Strikes Back.

Oh my God.

I have an appreciation for Star Wars as a cultural phenomenon.

Oh my God, you sound, you sound like, this sounds like you're a politician.

Oh my God.

When I was a child, I went to Star Wars and I fell asleep during it.

And then as an adult, I thought, what is wrong with me?

I need to see Star Wars.

And then you were like, but then I have to learn rules about a new planet.

No, I fell asleep again.

Oh, my God.

And then I thought, that's a sign.

I mean,

in multiple generations of myself or like in different decades.

Here's the thing, though.

I was obsessed with Princess Leia.

Like as a kid, I wore the buns and I did the lightsaber thing.

I didn't know why.

No, I don't know any of the thing.

I don't know where Chewbacca is from.

But then likewise, I love your baby Yoda.

You have a knitted baby Yoda

in your she-shed office, and I love it.

I want one, but so I guess I'm attracted to parts of Star Wars, but not the actual story or any of the rules.

Wow.

I'm afraid that I've said this.

I'm afraid.

Don't be afraid.

I am afraid to have admitted this.

This feels like a little bit like I'm telling a secret.

It is.

No, it's, you know, but listen, we went to Disneyland and we rode that Millennium Falcon ride.

I loved the whole Disneyland Star Wars world.

Like, I didn't want to leave.

It was amazing.

It was so well done.

And then, like, the ride was blew my mind.

Like, I've seen so much of the imagery from the movie that I was giddy.

I think, Jenna, that in 2020, I think you need to read.

I think you have to.

Maybe, okay, Angela, The Mandalorian.

It's so.

What is that?

It's on Disney Plus.

It's, oh, God, it's got baby Yoda in it.

I, please don't make me watch all these fantasy shows.

What if I bought like this would be like if I said to you, Angela, in 2020, I'm going to make you watch all my favorite horror movies.

Oh, I do hate horror movies.

See?

I hate them.

I love horror movies and I love, in particular, survivalist horror movies.

Oh, I hate those.

Okay, fine.

Okay, fine.

You can keep your survivalist movies and I'll keep Star Wars.

Although I do feel like there might be a night

to me.

Listen to me.

While you come to my house with me this year and watch my annual viewing of The Edge.

And in exchange, I'll watch something of your fantasy.

stuff.

Yes, but if I have to watch a man fight a bear,

like he, it's hit, the bear's eating him and he's fighting him off,

I'm going to need a glass of wine.

You can have a glass of wine.

You can't stress me the hell out.

Well, Angela, what one man has done, another can do.

Oh, my God, there it is.

Okay, fine.

I have spoken.

Yes, yes, Mandalorian.

Yes.

I don't know what that reference is.

I know, I know.

Let's get back to the episode.

If anyone is still willing to listen to me after that confession, the scene with Jan and Michael greeting one another where he accidentally touches her boob.

Yes.

I know, do you remember on the day we rehearsed that scene because it was a little tricky?

There was a big camera movement of Michael watching the door, waiting for Jan, and then he comes out of his office.

So it was a little complicated.

We had to really rehearse that with the cameras.

And during the rehearsal, Steve accidentally touched her boob.

Yes.

And we all laughed so hard.

Malora was cracking up.

Malora said, you have to do that in a take.

And Steve was like, no, no, no.

And she's like, no, it was so funny and awkward.

You have to.

and so then that became a bit in the scene then they had to try to do it where it still looked like an accident which is a really hard thing to do actually yeah because he was to recreate that I think Steve was just trying to pat her shoulder and missed yes she sort of moved a little bit and he accidentally patted her boot yeah she turned into him as he went to pat her shoulder so funny so funny so funny that was a complete accident that bit That just happened on the fly.

I also want to say that then when Jan goes into Michael's office, I love that the cameras are outside of the office during this scene between Michael and Jan.

So Paul Feek talked about his decision to keep the cameras outside the office for these scenes.

He thought that Michael might want Jan alone so that he could ask her about the relationship.

And so the camera.

And Jan would not want the cameras there anyway.

No, probably not.

And so they had to get it as a spy shot.

But then later, after the suggestion box meeting, you'll notice that the camera is inside the room with them.

And Paul said that his logic was that in Michael's mind, if he let the cameras in the office with him, maybe Jan couldn't yell at him as much for what happened in the conference room.

Oh, yes.

So Michael would be able to use the camera as a buffer.

As protection.

I just love the thoughtfulness that goes into the planning of where the camera is or where the camera isn't.

I mean, that's just, Paul is so smart.

He's so smart.

Well, I loved the line that Jan had when she said, please don't smell me, Michael.

Oh, yes.

He's like, what are you wearing?

It smells sexy.

She's like, oh, God.

Please don't smell me.

Don't smell me, Michael.

That reminds me so much of Pam's line, please don't throw garbage at me.

Me too.

It reminded me of the same thing.

Hey, guys, just a little fun background thing to catch.

There is a British flag on Michael's desk.

You see it throughout the episode whenever you go into his office.

I like to think it's a little nod to our BBC roots.

It must be, right?

I think so.

Yeah.

They would do stuff like that.

I know.

So I don't know if you guys notice it, but I noticed it right away.

In the conference room, 12 minutes, 26 seconds, we are opening up the suggestion box.

We had a fan question from Real Brandon B16.

What was the hardest scene for you to film for this episode?

This one.

We laughed so much.

So hard.

I laughed so hard at every one of Steve's reactions.

Everything was so and also like Rain is Dwight like like repeating all the ridiculous things.

So good.

Also, I think in this scene, there's some Toby sass.

Oh, I wrote.

Did Did you?

Major Toby Sass.

Okay, so wait.

First of all, can we just briefly talk about how many cards are in the suggestion box?

Yes, please.

There are six.

Okay.

Number one, what should we do to prepare for Y2K?

Amazing.

Number two, we need better outreach for employees fighting depression.

Okay, that was Tom.

Number three, you need to do something about your BO.

This is when we have major Toby sass.

Yes.

Because he's like, Michael, aren't these these about you?

And he's like, I mean, I can't believe Toby.

I can't, first of all, I can't believe Michael didn't kick him out of the conference room.

Yeah.

Right.

I think he only didn't kick him out because Jan was there.

Yes.

Good call.

Also, can we all just take a minute to witness the fact that Creed

like schooled Michael on the difference between inferring and implying?

Yes.

Like, what, Creed?

I love when Creed suddenly lays down real wisdom.

Yeah.

And we're like, what?

Yeah.

He mostly says gibberish.

And then you're like, oh, okay.

Take note.

Inferring and implying are two different things.

What?

Number four, you need to do something about your coffee breath, which was clearly my character's card.

Yes.

Yes.

Number five, a piece of gum.

Number six, don't sleep with your boss.

Yes.

Yeah.

I personally never came back from the gum when he opens up the piece of gum and Steve's reaction to the gum.

Yeah.

I don't think I ever got it together after that because it was so amazing.

Also, watch Mindy at 15 minutes, 10 seconds.

She puts her hand over her mouth, but her eyes get really wide.

Like she's totally, it's a total giveaway.

She's laughing.

That's what Mindy does when she laughs.

She covers her mouth with her hand.

Yes.

That's her tell.

All right.

So now we're going to move out to the stairwell and the scene where Dwight is pumping himself up for his performance review.

To the song Wildside by Motley Crewe.

Yes.

So that is the stairwell to the writer's offices.

The bottom of the stairs is the hallway where our editors would sit.

That's where the editing bays were.

And upstairs was the writer's.

And Rain has said in interviews that this was one of his favorite scenes to film.

And I happened to be over in the writer's room that day that they were filming it.

And I sat at the top of the stairs and I watched him film the scene.

Yes.

And it was so great.

And a lot of the stuff that he is saying there was improvised.

Yes.

As his also, people were like, did he improvise playing the air guitar?

That's all rain.

That's all rain.

And there was something funny about that.

So usually when you have music in a scene, they don't actually play the music on set.

In fact, there'll be like a big dance scene or a club scene, like let's say you're shooting a wedding.

They'll play a few seconds of the music so that you can get the beat.

And then they turn it off and you have to dance.

With no music.

With no music and say your dialogue.

And then they add the music later in editing.

And that's so they can get your dialogue clean and so that they can cut between different takes.

And it, you don't want this song in the background.

Well, for this scene, they actually played the music on the boom box, and it made for a bit of a challenge in the editing room.

But Greg felt like it

provided so much to Rain's performance

for him to have that music blaring.

And also, it's documentary, so you wouldn't have this like clean track of the music playing later.

Although we did in Cafe Disco, we all have a dance.

I remember that.

Yeah.

In Michael's office, in the little Michael Scott paper company thing.

All right.

So now we move into Michael's office, and Dwight is going to give his pitch for why he deserves a raise.

Okay, this scene happens at around 17 minutes, 14 seconds.

I just have to tell you guys, I did a lot of scenes with Rain Wilson.

And here's something you have to know about him.

The man loves a prop.

He loves a prop, guys.

Oh, my gosh.

So it was no surprise to me when he held up that binder.

I have a feeling him and Phil Shea talked a lot about that binder and what would go in it.

But Rain loves a prop.

Well, you can see at 18 minutes, 12 seconds, speaking of props, there is a sign.

And it never gets referred to in the scene because it got deleted.

Dwight has made a sign of himself where he breaks down his name.

I wrote it all down.

I did too.

Okay, say it.

Let's take turns.

You do the first one.

Well, let's go back and forth.

Okay.

Dwight's acronym for his name.

Determined.

Worker.

Intense.

Good worker.

Hard worker.

Terrific.

You actually, I have to advise people to go back and watch the deleted scenes from this because there is a whole scene where he explains this.

First, he explains it to Jim Jim at their desks, and then he makes suggestions for what Jim's acronym could be.

He does.

Yes, and it's really good.

And then, um,

and then they also show like the scene from Michael's office.

So, it's, it's good stuff.

It is interesting to me that the two characters that were the most excited about their performance review were Dwight and Angela.

I mean, Dwight put so much effort into his, and then all Michael said was he's adequate.

And then, my character is like, I love to be judged.

I I hold up even to the most severe scrutiny.

I'm so excited for this.

And then he just slams the door in my face and says, You're satisfactory.

Oh, I know.

It's so sad that two people who really wanted a performance review don't get it.

So around 18 minutes, Jan is fed up.

She's like, You know what?

I need a minute.

I'm going to step out.

I'm going to collect my thoughts.

And she goes into the hallway and we see the sign for the building.

And here's what's in the building that we see: W.B.

Jones heating and air.

That's in Office 110.

Available 1400.

It's available space.

And then the number is 120.

What?

Then we have Dunder Mifflin Inc., Suite 200.

And then we have Vance Refrigeration, Suite 210.

So here's something that's interesting.

We haven't done that episode where we meet all the people in the business park yet, but they had to make that prop.

Yeah.

So I want to ask, that would actually be set deck.

I want to ask Michael Gallenberg, did he just randomly make up that JB?

WB.

The WB, and did he make up Vance Refrigeration?

WB Jones.

I mean, Vance Refrigeration is put there so far before we ever deal with it.

I wonder what that was, who came up with that?

Yeah, we need to talk to Michael about all of those little things because they will come to figure so prominently in.

upcoming episodes.

Oh my gosh.

Bob Vance.

Bob Vance.

Vance refrigeration.

Then we have the scene with Jim and Pam in the break room.

Yes, they're talking about Michael and Jan.

And Pam says, how do you come back from that?

And Jim so clearly takes it to heart because he's thinking, how would they come back if him and Pam hooked up and it didn't work out?

How would they come back?

How would he come back from that?

It's so clear to me that that's what he's thinking.

And he's like, yeah, you know, I don't know how you do come back from that, especially if you work together.

And then Pam goes, no, I mean, how do you come back from hooking up with Michael?

Right.

And he's like, oh, yeah, yeah, yeah, Michael.

But you see, the whole time, I feel like Jim sort of went deep.

And I feel like Pam kind of stayed surface.

Yeah, I don't think Pam's thinking any of that stuff at all.

She's really thinking, Jan hooked up with Michael.

Yeah, Michael.

Yeah, she's not thinking office romances.

But it's just a little moment for me that kind of broke my heart.

And it's kind of like what Larry is talking about, that at the heart, it's a romantic comedy, you know?

And Jim is thinking about Pam.

And so when he realizes Pam hasn't even clocked that you know that that he's thinking about them in a way that she's not even thinking about in that moment jan then says she is heading back to new york and there's this big scene where michael chases her to the elevator oh jenna before we get into that scene i just have one little comment about something in the background what is it at 19 minutes eight seconds you guys as jan is leaving the building and michael's chasing after her you really get a great look at the dunder mifflin sign oh yeah here's the thing you probably think that sign is like made of something hard and sturdy, right?

Doesn't it look like

plastic or something?

Yeah.

Composite?

It's foam board.

Yeah.

Sometimes it's like almost like a craft project.

It's almost like a poster you would make for your kids' third grade project.

I remember we would have scenes where we'd have to line up and come in and out of the office, and we'd be stuck back there in that little corner off camera, and you could just push on it.

And it was just like foam board.

Well, I used to remember being worried for it because it did feel very precarious.

Like if you, your elbow might go right through it.

I remember one time Oscar was leaning on it and I was like, Oscar, the D is getting like all like bent.

Stop it.

Yeah.

Anyway, I'm just saying that sign, guys, you know, it's Hollywood Smoke and Mirrors.

It's just foam board.

You could have made it for your third grade project.

I love that tidbit.

I think that's a good tidbit.

It's a good tidbit.

I would sometimes walk past it and just push on a letter.

Angela.

What?

That's so like devious.

I couldn't.

It felt like.

Was that like your character just getting out a little tension?

I don't know, but sometimes I'd walk past it and go, shquee, shee.

So Jan gives this big speech at the elevator, which is amazing.

It's amazing.

Melora is amazing.

Amazing.

And it cuts back and forth between them at the elevator and all of us in the office.

We had a fan question from Molly Smileyface.

When Jan is leaving and her and Michael are arguing, could you guys actually hear it or did you just act like you could?

We could hear them.

We could hear them.

They had a camera on us and we could hear them and it was as much fun to listen to as you would imagine in real life.

It would be fun to listen to that.

Oh yeah, we had a camera on us the whole time.

They did their scene.

And so I think what people don't realize too is the space from reception to that elevator wasn't very far.

No, it really wasn't.

So we were in fairly close proximity.

It just doesn't look like it the way we would always film and also the walls aren't really real thick walls yeah you can hear yeah they're just very easy yeah and also the elevator is obviously not a real elevator it is a box with a door with like a guy with a pulley with a cable yeah he would like pull the doors open and shut and he would have to try to time it to look real but something i love in this scene is that the timing of michael saying

so what you're saying is it had nothing to do with my looks.

Like that, that's his takeaway from that speech is that she doesn't find him unattractive.

And she just goes,

and then the doors close.

It was perfect.

I mean, amazing.

And then this is, you know, a little background tidbit that I love.

At 19 minutes, 14 seconds, while Malora, as Jan is having this speech, we see the door to Vance's refrigeration.

There it is.

There it is.

That's where they are.

They're right on the other side.

So you can see that Phyllis and her fella weren't very far apart.

They weren't.

I wonder where did they meet in the elevator?

Maybe the elevator.

Or did they know each other before?

We all have a lot of questions.

We learn about that romance in the Christmas episode, which is coming up.

All right.

So here we go.

We talked about cold opens.

This episode has a tag.

A tag.

The little tidbit at the end.

It's the next day.

Where is Dwight?

If you re-watch this, this is one long tracking shot, which is just a great shot.

It's kind of amazing how we timed it out.

You see everybody working and then we go to the window.

You see Dwight down at the window getting out of his car.

It's really terrific.

The prank worked.

He doesn't get to work until like noon or something.

Yeah, he comes barreling out of his car all frantic.

And of course, you see the really cute Jim and Pam that they do a little like actor's bow to

like well done.

Yes, yes.

And that is performance review.

That's performance review.

We would love to thank Larry Wilmore for coming on today and you guys for tuning in.

And we will be back next week with email surveillance.

And guess who's going to be in the booth?

With us.

Ken Jong.

Yes.

And Angela, this is going to be a big episode for you.

Oh, yeah.

It is.

White and Angela.

Dwangela is born officially.

Bump and Birkenstocks.

Woof.

All right.

We'll see you then.

Thank you for listening to Office Ladies' Second Drink.

This episode was initially created in collaboration with Earwolf.

Office Ladies is a presentation of Odyssey and is produced by Jenna Fisher and Angela Kinsey.

Our executive producer is Cassie Jorkins, and our audio engineer and associate producer is Daniela Silva.

Odyssey's executive producers are Jenna Wise Berman and Leah Reese Dennis.

Office Ladies is mixed and mastered by Chris Basil.

Our theme song is Rubber Tree by Creed Bratton.

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