Dave Rogers

Like so things can get cleaned up, you know, which is nice. I have a couple of rules.

So I never change a take of the show. Like I feel that this is the documentary crew have come in and they've gotten more time to make these episodes longer. So they're just adding in more stuff that they've shot. So I'll never change a performance or very, very rarely. There might be something where I'm like, oh, I need –

So I never change a take of the show. Like I feel that this is the documentary crew have come in and they've gotten more time to make these episodes longer. So they're just adding in more stuff that they've shot. So I'll never change a performance or very, very rarely. There might be something where I'm like, oh, I need –

So I never change a take of the show. Like I feel that this is the documentary crew have come in and they've gotten more time to make these episodes longer. So they're just adding in more stuff that they've shot. So I'll never change a performance or very, very rarely. There might be something where I'm like, oh, I need –

I'll change a camera angle occasionally, but I'll never – you won't see a different take. If Michael says something this way, I'm not going to go to a different take of him saying the same line. I will only add – and this is for all of you. I don't want any kind of parallel universes or anything out there.

I'll change a camera angle occasionally, but I'll never – you won't see a different take. If Michael says something this way, I'm not going to go to a different take of him saying the same line. I will only add – and this is for all of you. I don't want any kind of parallel universes or anything out there.

I'll change a camera angle occasionally, but I'll never – you won't see a different take. If Michael says something this way, I'm not going to go to a different take of him saying the same line. I will only add – and this is for all of you. I don't want any kind of parallel universes or anything out there.

Yeah.

Yeah.

Yeah.

Yes. I mean, every once in a while, like a reaction shot might come out because we've added more dialogue or something like that. And that was used to cover a gap, let's say. But generally like no performance changes. Right. The other thing is that there's no alternate things like, for example, season three, the job finale.

Yes. I mean, every once in a while, like a reaction shot might come out because we've added more dialogue or something like that. And that was used to cover a gap, let's say. But generally like no performance changes. Right. The other thing is that there's no alternate things like, for example, season three, the job finale.

Yes. I mean, every once in a while, like a reaction shot might come out because we've added more dialogue or something like that. And that was used to cover a gap, let's say. But generally like no performance changes. Right. The other thing is that there's no alternate things like, for example, season three, the job finale.

We have footage of Karen sitting at a fountain outside the building crying and she gets a phone call and she accepts the job. So this was like we shot that because we didn't – I guess we weren't sure which way we were going to go.

We have footage of Karen sitting at a fountain outside the building crying and she gets a phone call and she accepts the job. So this was like we shot that because we didn't – I guess we weren't sure which way we were going to go.

We have footage of Karen sitting at a fountain outside the building crying and she gets a phone call and she accepts the job. So this was like we shot that because we didn't – I guess we weren't sure which way we were going to go.

Who's going to get the job? So we shot – that's not going back into a show because it doesn't track with everything we've seen. But I do see there are things like that that pop up and I'm like, no, we can't use that. That's a different path. We really do our best not to contradict things and not to have continuity errors, things like that.

Who's going to get the job? So we shot – that's not going back into a show because it doesn't track with everything we've seen. But I do see there are things like that that pop up and I'm like, no, we can't use that. That's a different path. We really do our best not to contradict things and not to have continuity errors, things like that.

Who's going to get the job? So we shot – that's not going back into a show because it doesn't track with everything we've seen. But I do see there are things like that that pop up and I'm like, no, we can't use that. That's a different path. We really do our best not to contradict things and not to have continuity errors, things like that.

Right. We did that. We did shoot that alternate version of you guys in the elevator. I don't know if you're in it and he comes in.