Jenna Fischer

All right. Wow. This is another question about a camera movement. So, you know, after they're at the bar and they're all talking about who they would save, Jim gets up his courage and he's going to walk over to Pam and he says, I would save the receptionist. I think I need to make that clear.

All right. Wow. This is another question about a camera movement. So, you know, after they're at the bar and they're all talking about who they would save, Jim gets up his courage and he's going to walk over to Pam and he says, I would save the receptionist. I think I need to make that clear.

All right. Wow. This is another question about a camera movement. So, you know, after they're at the bar and they're all talking about who they would save, Jim gets up his courage and he's going to walk over to Pam and he says, I would save the receptionist. I think I need to make that clear.

Well, right before that, Greg Phelps noticed at 14 minutes, 37 seconds, there's a continuous shot of Jim looking down the length of the boat to Pam and as he thinks about who he would save. The camera then zooms in on Pam at the exact moment she has a really cute laughing smile. How did you time that out so perfectly?

Well, right before that, Greg Phelps noticed at 14 minutes, 37 seconds, there's a continuous shot of Jim looking down the length of the boat to Pam and as he thinks about who he would save. The camera then zooms in on Pam at the exact moment she has a really cute laughing smile. How did you time that out so perfectly?

Well, right before that, Greg Phelps noticed at 14 minutes, 37 seconds, there's a continuous shot of Jim looking down the length of the boat to Pam and as he thinks about who he would save. The camera then zooms in on Pam at the exact moment she has a really cute laughing smile. How did you time that out so perfectly?

He wants to know, Jenna, were you given a cue when the camera was about to zoom in on you? But we used to do that stuff all the time.

He wants to know, Jenna, were you given a cue when the camera was about to zoom in on you? But we used to do that stuff all the time.

He wants to know, Jenna, were you given a cue when the camera was about to zoom in on you? But we used to do that stuff all the time.

I think our editors don't get enough credit. Well, first of all, I think our camera operators don't get enough credit for all of those happy accidents. But then you would assemble those with the editors in the editing room to tell even more of a story than what was in the script.

I think our editors don't get enough credit. Well, first of all, I think our camera operators don't get enough credit for all of those happy accidents. But then you would assemble those with the editors in the editing room to tell even more of a story than what was in the script.

I think our editors don't get enough credit. Well, first of all, I think our camera operators don't get enough credit for all of those happy accidents. But then you would assemble those with the editors in the editing room to tell even more of a story than what was in the script.

It is. It's in the deleted scenes. It's great. Michael, the guitar player is going to take a break and then Michael tries to fill in for him and he's horrible. And then Creed says, let me give it a shot. And then he just gets up there and rocks out. And it's so cool and satisfying. And then he has a talking head where he explains that he is himself, basically. Yeah.

It is. It's in the deleted scenes. It's great. Michael, the guitar player is going to take a break and then Michael tries to fill in for him and he's horrible. And then Creed says, let me give it a shot. And then he just gets up there and rocks out. And it's so cool and satisfying. And then he has a talking head where he explains that he is himself, basically. Yeah.

It is. It's in the deleted scenes. It's great. Michael, the guitar player is going to take a break and then Michael tries to fill in for him and he's horrible. And then Creed says, let me give it a shot. And then he just gets up there and rocks out. And it's so cool and satisfying. And then he has a talking head where he explains that he is himself, basically. Yeah.

He is Creed Breton, member of Grassroots. Yeah.

He is Creed Breton, member of Grassroots. Yeah.

He is Creed Breton, member of Grassroots. Yeah.

I think that is- We should have shirts that say, I'd save the receptionist.

I think that is- We should have shirts that say, I'd save the receptionist.