Jenna Fischer

Well, Matt, I appreciate this question because a lot of the role of Pam Beasley is nonverbal. You know, it's a lot of reacting. Yes. And so I had to really say a lot without a lot of dialogue. So I went back to a couple of exercises that I did in acting school. One of them was called Private Moment and it's an exercise in stillness.

Well, Matt, I appreciate this question because a lot of the role of Pam Beasley is nonverbal. You know, it's a lot of reacting. Yes. And so I had to really say a lot without a lot of dialogue. So I went back to a couple of exercises that I did in acting school. One of them was called Private Moment and it's an exercise in stillness.

Well, Matt, I appreciate this question because a lot of the role of Pam Beasley is nonverbal. You know, it's a lot of reacting. Yes. And so I had to really say a lot without a lot of dialogue. So I went back to a couple of exercises that I did in acting school. One of them was called Private Moment and it's an exercise in stillness.

You have to come to class and recreate an ordinary moment and try to do it in front of people as unselfconsciously as possible. It's supposed to be a moment in silence without any speaking and also something that you would normally do alone. But it should be very ordinary and very simple.

You have to come to class and recreate an ordinary moment and try to do it in front of people as unselfconsciously as possible. It's supposed to be a moment in silence without any speaking and also something that you would normally do alone. But it should be very ordinary and very simple.

You have to come to class and recreate an ordinary moment and try to do it in front of people as unselfconsciously as possible. It's supposed to be a moment in silence without any speaking and also something that you would normally do alone. But it should be very ordinary and very simple.

So it could be as simple as putting on shoes in the morning or brushing your teeth or washing your face or sitting on your bed and writing in a journal. And you just have to move through that moment without trying to push it all.

So it could be as simple as putting on shoes in the morning or brushing your teeth or washing your face or sitting on your bed and writing in a journal. And you just have to move through that moment without trying to push it all.

So it could be as simple as putting on shoes in the morning or brushing your teeth or washing your face or sitting on your bed and writing in a journal. And you just have to move through that moment without trying to push it all.

Yes, completely non-performative in any way. Ja. Ja. We do this in our life all the time. We can sit in a work meeting and we're literally talking, but also making a grocery list in our head. It's like we can think one thing and say another thing. So that was another thing I brought to Pam.

Yes, completely non-performative in any way. Ja. Ja. We do this in our life all the time. We can sit in a work meeting and we're literally talking, but also making a grocery list in our head. It's like we can think one thing and say another thing. So that was another thing I brought to Pam.

Yes, completely non-performative in any way. Ja. Ja. We do this in our life all the time. We can sit in a work meeting and we're literally talking, but also making a grocery list in our head. It's like we can think one thing and say another thing. So that was another thing I brought to Pam.

And early on, I would write her interior monologues in my script and I would actively think them as if they were like alternate lines for my brain. And that's how I tried to get certain things to play out on my face when I didn't have dialogue.

And early on, I would write her interior monologues in my script and I would actively think them as if they were like alternate lines for my brain. And that's how I tried to get certain things to play out on my face when I didn't have dialogue.

And early on, I would write her interior monologues in my script and I would actively think them as if they were like alternate lines for my brain. And that's how I tried to get certain things to play out on my face when I didn't have dialogue.

So like if there was a moment in the script where I was supposed to steal a glance at Jim, I would think to myself, don't look at Jim, don't look at Jim, don't look at Jim. And then I would look at him. And I would sort of hope that that would reveal how much Pam really wanted to look at him. Because I would be thinking, don't look at him, don't look at him, don't look at him.

So like if there was a moment in the script where I was supposed to steal a glance at Jim, I would think to myself, don't look at Jim, don't look at Jim, don't look at Jim. And then I would look at him. And I would sort of hope that that would reveal how much Pam really wanted to look at him. Because I would be thinking, don't look at him, don't look at him, don't look at him.

So like if there was a moment in the script where I was supposed to steal a glance at Jim, I would think to myself, don't look at Jim, don't look at Jim, don't look at Jim. And then I would look at him. And I would sort of hope that that would reveal how much Pam really wanted to look at him. Because I would be thinking, don't look at him, don't look at him, don't look at him.

Which is why I think your character was so layered rather than like that one note of bitchiness. You always had your secondary emotion that you were playing.

Which is why I think your character was so layered rather than like that one note of bitchiness. You always had your secondary emotion that you were playing.