Podcast appearances and mentions of Paul Lieberstein

Is Toby is the Scranton Strangler?? This week the ladies discuss this very popular fan theory! In old school debate style, they each take a side and present their case. Angela vs Jenna. Angela says that Toby IS the Scranton Strangler and Jenna argues that he is NOT. With the help of many “Office Ladies” fans writing in with their theories and the ladies' own deep-divey research, this debate gets heated! Sam becomes the impromptu judge and Cassi serves as the debate expert but ultimately we needed to hear from Paul Lieberstein aka Toby Flenderson himself. He joins the ladies in the studio to answer this fan theory once and for all! Is Toby the Scranton Strangler? We want to hear your thoughts! We hope you enjoy this episode, we never knew we could have so much fun talking about Toby.  Check out Paul Liberstein's Audible show “Middlespace: The Rebels Attack, And Then Other Side Attacks as Well” https://www.audible.com/podcast/Middlespace-The-Rebels-Attack-And-Then-The-Other-Side-Attacks-As-Well/B09L37JVBC Check out Office Ladies Merch at Podswag: https://www.podswag.com/collections/office-ladies  Office Ladies Website - Submit a fan question: https://officeladies.com/submitaquestion  Follow Us on Instagram: OfficeLadiesPod To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

This month for our series: Introduction to a Modern Class of Casting Visionaries we welcome our good friend Chrissy Fiorilli-Ellington! Chrissy is an award-winning Casting Director in film, television, streaming, and commercials. Her credits include THINGS WILL BE DIFFERENT (SXSW 2024), the upcoming creature feature XENO starring Lulu Wilson, DIE HART 2: DIE HARTER and DIE HART 3 starring Kevin Hart for Roku. As well as, OUT OF OFFICE for writer/director Paul Lieberstein, the Oscar-nominated short PLEASE HOLD, SNAKE OIL for FOX, Netflix's THE G WORD WITH ADAM CONOVER produced by the Obamas, and the John Wick-meets-John Hughes series WAYNE, which she cast alongside Amanda Lenker Doyle. She was nominated for three Artios Awards in 2024, and lives in LA with her actor husband, Tate Ellington, their two daughters, and cat.  In this episode we discuss: Chrissy's unique way of getting into the industry and her journey through the ranks What it's like being married to an actor and how she has 2 different perspectives. One as a casting director and one as the wife of an actor How she met her husband and how they've navigated the industry as a couple The difference of casting in NY vs LA How she's coped with the changing evolution of casting and self tapes and what she is hoping for the future We discuss AI and it's effect on us and our thoughts Her favorite part of casting and her least favorite part Who are her current talent crushes Resources: Chrissy's Instagram Chrissy's IMDB Chrissy's Website ─────────────────────────── ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Stay Tuned with Tipsy Casting on IG⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Watch the ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tipsy Casting YouTube Channel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow Jessica ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow Jenn ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn More About ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Jess ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠& ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Jenn's⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Casting --- Send in a voice message: https://podcasters.spotify.com/pod/show/tipsycastingpodcast/message

Cette semaine, vos chroniqueur.euses préférés de Popcorn Sucré reviennent, à distance, pour vous parler de: - Sabotage, de Daniel Goldhaber - La Base, de Vadim Dumesh Restez jusqu'à la fin, on vous donne nos coups de cœur de la semaine: - Her, de Spike Jonze - The Office (US), de Greg Daniels⁠, ⁠Paul Lieberstein⁠, et ⁠Ricky Gervais⁠ - Night Crawler, de Dan Gilroy Présentation: Alix Chroniqueur.seurs: Juliette, Anne So, Arthur

Pop Art Painter Jamie Roxx (www.JamieRoxx.us) welcomes The Scotty Hollywood Band (Pop Rock) to the Show!  (Click to go there) ● WEB: thescottyhollywoodband.com The Scotty Hollywood Band, led by singer/songwriter Scott Argiro, is set to release their latest single "The Phenomenon" on January 22nd, 2024. The highly anticipated song is an anthemic tribute to elite athletes and is sure to be the perfect soundtrack for sporting events, including the current pro football playoffs and championship game. Produced by Emmy Award winner Steve Avedis, "The Phenomenon" features a collaboration with rap artist Troof from Shreveport, Louisiana. The song showcases the band's signature energetic performances, emotion-filled vocals, and undeniable talent. "The Phenomenon" is a testament to the band's versatility and ability to seamlessly blend different genres of music. With a mix of rock, hip-hop, and electronic sounds, the song is sure to captivate listeners and keep them on their feet. The single is accompanied by a visually stunning music video directed by Elgin Cahill. The video features dynamic footage of athletes in action as well as captivating performance shots from the band. Scotty Hollywood Band is no stranger to the music industry, with numerous CDs under their belt and airplay on independent and college radio stations across the country. The band's music has also been featured in films, including releases from directors Joel Schumacher and Paul Lieberstein. ● Media Inquiries: MTS Management Group MTS Records www.mtsmanagementgroup.com

A Fresh Story, season 5, episode 7 We had the honor of talking to actress, artist, podcaster, and all around cool girl Rebecca Lee! We talked to Rebecca about her divorce, finding her way back to her career post-divorce, how we can tap into our confidence, and how she ditched the narratives in her life and found her own journey. Rebecca is brilliant, creative, funny, and one of our favorite cool girls - she is generous and kind and always looks like she's about to walk onto the stage. Rebecca Lee is a Los Angeles-based actor and filmmaker. She studied acting at Atlantic Acting School in New York City as well as the Upright Citizens Brigade Theater in Los Angeles. Notable film and television credits include Crazy Ex-Girlfriend on the CW, Miranda July's Kajillionaire, and Comedy Central's Out of Office, written/directed by Paul Lieberstein and starring alongside Milana Vayntrub, Ken Jeong, Jay Pharoah, and Leslie Jones. ​She recently produced and starred as "A" in the Los Angeles premiere of An Intervention by Mike Bartlett at The Hudson Theatre in Los Angeles April-June 2022, completing the run at the Hollywood Fringe Festival. ​In addition to acting, Rebecca also has a passion for improv, performing every Monday night at 8pm in Holy Shit Improv at The Silverlake Lounge along with various other theaters throughout Los Angeles. ​She has a podcast called, How the Fuck...?, where she interviews her friends and peers on different mental health topics. Season one was titled How the Fuck Did You Get So Confident? and season two is How the Fuck Did You Bounce Back?. Notable guests include Rachel Bloom, Shelley Hennig, Milana Vayntrub & Ashley Johnson. ​Rebecca is also a writer and producer having the latest short film she produced, Beginner's Luck, starring Matthew Gray Gubler, Lauren Lapkus, Mary Holland, Ego Nwodim, herself, and others, win various awards on the festival circuit including the Grand Prize at the 2020 Hollywood Comedy Shorts Film Festival and the Audience Award at the Chicago Comedy Film Festival 2020.  Whether she's acting, writing, directing, or producing, Rebecca is an artist first, looking to create projects that will act as a mirror held up to society, helping people to reflect on themselves and the world around them rather than hide from it. Enjoy this episode with Rebecca, check out her website, and follow Rebecca on Instagram. Listen to How the Fuck Did You…podcast here!

One of Brian's favorite people (and everyone's favorite HR rep) Paul Lieberstein is on the show today. He talks about his early, terrible spec scripts, his excellent new show Lucky Hank, and the real reasons behind the writer's strike.See omny.fm/listener for privacy information.

“I was particularly interested in writing comedy,” says Paul Lieberstein, who is best known for playing Toby on The Office, but has writing credits for King of the Hill, The Drew Carey Show, Ghosted, Space Force, and now, Lucky Hank. “Some Woody Allen short stories and Steve Martin albums. In my twenties, I learned there was a whole industry there, and you can do that, because I had never met anyone who had done that.” Aaron Zelman, the co-creator of Lucky Hank, also realized he enjoyed writing at an early age, even though he didn't feel he was particularly good at it back then. “It dovetailed with my interest in theater, acting, and improv. The more I did it, the more I wanted to be the one creating what I was doing.” Zelman's additional writing credits include Law & Order, Criminal Minds, Damages, and The Killing.  Together, they have adapted Richard Russo's 1997 novel, Straight Man. The novel can be described as follows: “William Henry Devereaux, Jr., is the reluctant chairman of the English department of a badly underfunded college in the Pennsylvania rust belt. Devereaux's reluctance is partly rooted in his character—he is a born anarchist—and partly in the fact that his department is more savagely divided than the Balkans.” The writers say the book is hilarious, but also very serious. “There are some darker, underlying currents of what defines the character of Hank and we didn't want to shy away from that.” Lieberstein says, “Something we had to talk about a lot was the storytelling demands of the hour, like how little could we do. We just wanted to do people that are living, without soap stuff, or overarching concepts. We were stretching the boundaries of how little we could do, knowing we had an obligation to keep people interested.”  To find this balance, the writers say they rewrote every single episode about four times. “The thing that we kept coming back to, doing as little as possible, we didn't want to implode bigger concepts. We didn't want to throw in a murder. It was a challenge to keep the audience entertained without doing that stuff, but in my life, things feel pretty damn dramatic without a murder to solve. We wanted to have an audience go on that ride too.” To encompass all of this in one idea, the writers came up with the story driver: “The high drama of everyday life.” Want more? Steal my first book, Ink by the Barrel - Secrets From Prolific Writers right now for free. Simply head over to www.brockswinson.com to get your free digital download and audiobook. If you find value in the book, please share it with a friend as we're giving away 100,000 copies this year. It's based on over 400 interviews here at Creative Principles. Enjoy! If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts? It only takes about 60-seconds and it really helps convince some of the hard-to-get guests to sit down and have a chat (simply scroll to the bottom on your iTunes Podcast app and click “Write Review"). Enjoy the show!

Diedrich Bader grew up in Paris, watching movies from Charlie Chaplin, Buster Keaton, and Fred Astaire. Through some unique circumstances, he ended up performing as a Chaplin in front of a large crowd, getting a standing ovation, and he was hooked from then on to become a comedic performer. Diedrich has over 200 credits, a mixture of performances and voice work, including Office Space, Napoleon Dynamite, Veep, The Drew Carey Show, The Beverly Hillbillies, American Housewife, and most recently, AMC's Lucky Hank. This is one of three Lucky Hank interviews, so be on the lookout for my chats with actress Mireille Enos and creators Paul Lieberstein and Aaron Zelman. In this interview, we talk about Diedrich's love for physical comedy, appreciation for child-like characters, how sitcom audiences have changed their viewing habits over the years, the scene that made him nervous in Lucky Hank, and his view on perseverance over the course of a long career. Want more? Steal my first book, Ink by the Barrel - Secrets From Prolific Writers right now for free. Simply head over to www.brockswinson.com to get your free digital download and audiobook. If you find value in the book, please share it with a friend as we're giving away 100,000 copies this year. It's based on over 400 interviews here at Creative Principles. Enjoy! If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts? It only takes about 60-seconds and it really helps convince some of the hard-to-get guests to sit down and have a chat (simply scroll to the bottom on your iTunes Podcast app and click “Write Review"). Enjoy the show!

Mireille Enos followed her brother's footsteps into acting at an early age, which eventually led her to New York City to study acting. Today, she's best known for The Killing, World War Z, Sabotage, Gangster Squad, Big Love, Hanna, and now, Lucky Hank. In the latest project, Lucky Hank, Mireille plays Lily, the wife Hank (Bob Odenkirk), an English department chairman at an underfunded college who toes the line between a full-blown meltdown and the offbeat chaos of his personal and professional life. This is one of three Lucky Hank interviews, so be on the lookout for my chats with actor Diedrich Bader and creators Paul Lieberstein and Aaron Zelman. We also discuss her work with Veena Sud, who can you listen to in Episode 94. In this interview, Mireille talks about dealing with rejection, feeling embraced by New York but not Los Angeles, scripts you feel like should be yours, the unusual trajectory of The Killing, using the camera as your witness, and advice for writers to create roles actors desperately want to play. And, if you haven't seen Lucky Hank yet, there is a partially spoiler for Episode 4 around the 27:00 minute mark. Want more? Steal my first book, Ink by the Barrel - Secrets From Prolific Writers right now for free. Simply head over to www.brockswinson.com to get your free digital download and audiobook. If you find value in the book, please share it with a friend as we're giving away 100,000 copies this year. It's based on over 400 interviews here at Creative Principles. Enjoy! If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts? It only takes about 60-seconds and it really helps convince some of the hard-to-get guests to sit down and have a chat (simply scroll to the bottom on your iTunes Podcast app and click “Write Review"). Enjoy the show!

Peggy survives the fall with several broken bones and paralysis, while Cotton names his newborn son G.H., which stands for "Good Hank." Directed byKlay HallWesley Archer...(supervising director) (as Wes Archer)Writing CreditsMike Judge...(created by) &Greg Daniels...(created by) Paul Lieberstein...(written by) Kit Boss...(staff writer)Cast (in credits order) complete, awaiting verificationMike Judge...Hank Hill / Boomhauer (voice) Kathy Najimy...Peggy Hill (voice) Pamela Adlon...Bobby Hill (voice) (as Pamela Segall Adlon) Brittany Murphy...Luanne Platter (voice) Johnny Hardwick...Dale Gribble (voice) Stephen Root...Bill Dauterive (voice) Toby Huss...Cotton Hill (voice) Ashley Gardner...Nancy Hicks Gribble / Didi Hill (voice)Beth Grant...Nurse (voice)David Herman...(voice) Lauren Tom...Minh Souphanousinphone (voice) Diedrich Bader

AMC and Bob Odenkirk have teamed up, once again, for a 40-minute comedy drama called Lucky Hank.  The pilot we're discussing was written by the series co-creators Paul Lieberstein and Aaron Zelman. The plot revolves around a sarcastic English professor teaching unexceptional kids at an unremarkable college, frustrated with his lack of career success after living under his fathers shadow all his life. The show premiered Sunday night. Tune in to hear our breakdown of the episode and overall thoughts!

Michael Jamin sits down with one of his good friends (and former bosses) Jonathan Aibel who was a movie writer for Kung Fu Panda 1-3 and has worked on other greats like Trolls, Monster Trucks, The SpongeBob Movie: Sponge Out of Water, and Monsters vs Aliens. If you dream of being a movie or TV writer, you won't want to miss this podcast episode!Show Notes:Jonathan Aibel IMDB: https://www.imdb.com/name/nm0008743/Jonathan Aibel EMMYS: https://www.emmys.com/bios/jonathan-aibelJonathan Aibel Rotten Tomatoes: https://www.rottentomatoes.com/celebrity/jonathan_aibelMichael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutogenerated Transcript:Jonathan Aibel (00:00:00):We knew storyboards, we knew how to read storyboards. We knew what happens in an editing room and how actors perform, right? So we came to it with production skills or an, an understanding of the process that that helped us come in and say, oh, I think you can, you can cut a few frames there and actually know what we were talking about.Michael Jamin (00:00:23):You're listening to Screenwriters. Need to Hear This with Michael Jamin. Hey everyone. Welcome to Screenwriters. Need to hear this. I'm Michael Jamin, and I got a great guest for you today. This is my, this is one of my, this is one of my first bosses, actually. And yeah, yeah, John, it's true. I am here with John Abel one of the partner, he, his partners Glen Berger. I'll have him on in a future episode. So tell him to just relax. I know he wants toJonathan Aibel (00:00:51):Be, let's see how this goesMichael Jamin (00:00:52):First. Yeah, he'll, exactly. So yeah, and this guy's got a ton of credit. We, he's a real life movie writer. So let me give, I'm gonna sell you a, I'm gonna sell you, John, and then I'll let you talk for a second. But first let me talk, let me sell you up.Jonathan Aibel (00:01:04):That's fine.Michael Jamin (00:01:04):Proof everyone knows, like, I'm a, people say I'm a good creative writer. Wrong. I'm gonna prove it by selling you here, by building you up. So he's written on a u s a, he wrote run on King of the Hill for many years, including he was the showrunner, season five, cos Showrunner Mar. He also worked on Married to the Kelly's. That was his tv. That was his run in TV, I think. And then he went on to write Kung fu Panda, Kung fu Panda two, Kung fu Panda three proving like, you know, milking that thing, just milking that Kung fu panda thing. And then trolls, monster Trucks. And you've had a couple, couple upcoming stuff I want to talk about. Jonathan Abel, welcome to the show.Jonathan Aibel (00:01:46):Thank you. That was okay.Michael Jamin (00:01:48):What wasn't good? What should I have said?Jonathan Aibel (00:01:49):Well, you, king of the Hill is six years and like, that was six six. That was great TV. And then, and then you kinda mentioned some things. I was on six weeks with the same,Michael Jamin (00:01:59):Yeah,Jonathan Aibel (00:02:00):The same emphasis.Michael Jamin (00:02:01):I'm pretty sure, but I'm pretty sure. So they're not equal, you're saying, you're saying, well,Jonathan Aibel (00:02:07):You know, some, some are hits and some are are learning experiences. I'mMichael Jamin (00:02:12):Wearing my shirt for you by the, my King of the Hilter. But let, lemme tell you something. Let me tell you let me tell you something else. So will you, you guys, you and your partner Glenn hired basically, hi. You and Richard Pell hired us to be on King of the Hill. I think there was an opening because of Paul Lieberstein who left. And we literally took his office. So I credit I thank you for that. Oh, you'reJonathan Aibel (00:02:30):Welcome.Michael Jamin (00:02:31):When we got, when we joined the show, it was like, you know, it's your responsibility to get up to speed. So I asked for every script that was written or every, you know, anything on DVD that was already shot. And I distinctly remember reading all your guys' scripts, you and you and Glen Scripps, and just thinking, man, every script you wrote was just tight. It was so tight. And you'd come outta the box with a big joke. And it was just so well written. And like, you know, I didn't, there was 20 writers in the show, but I remember that your, your scripts always stood out like, man, these are always,Jonathan Aibel (00:03:02):You know, IMichael Jamin (00:03:03):Appreciate that. Always good. Yeah.Jonathan Aibel (00:03:04):I also appreciate your your diligence.Michael Jamin (00:03:07):My diligenceJonathan Aibel (00:03:08):Well, to come into a job and say, let me read everything. Lemme seeMichael Jamin (00:03:12):Everything. Oh, is, I didn'tJonathan Aibel (00:03:13):Think that was, it was a bit of a challenge with a hundred episodes.Michael Jamin (00:03:16):Always dreadful. The whole thing was a horrible experience. It's a lot to, but I remember. But you have to do it. You have to. That's how you get the voice of the characters and but the, to like, what kind of show episodes are being told. I remember, I dunno if I ever told you this, but I remember we had just, we were on just Shoot Me, you know, for the first four years. And I remember after the first season, king of the Hill was up against to shoot me. And I remember I was actually house-sitting for Steve Levitan for some reason. And and we were watching, I, we threw a big party. He, he wasn't in the house. And, and we were watching King of the Hill. It just came on. It was the, it was, you know, the Bobby's falls in love with the, with the dummy. And I, and I remember watching thinking, oh no, this is the competition. , this is really good Jonathan Aibel (00:04:01):That we used to watch. Just shoot me all the time in the writer's room feel that same way.Michael Jamin (00:04:06):Is that right? I didn't know that. I don't, I don't think so,Jonathan Aibel (00:04:08):But I, I just feels like it would, it should be.Michael Jamin (00:04:11):Yeah. You, you actually used to reciprocate.Jonathan Aibel (00:04:13):That'd be a nice thing to say.Michael Jamin (00:04:14):It would've been. But yeah, so Damn, Michelle was, and I still get, I, even today I get a ton of compliments on, on King of Hill. But tell me more. Tell me how you broken. How did you guys even get on King of Hill Hill?Jonathan Aibel (00:04:28):We were very lucky in that before we even moved to California, we, Glen and I met, we were management consultants and we met someone at this consulting firm who was college roommate with Greg Daniel's wife. And when we first started thinking maybe we don't wanna be consultants and would prefer to be comedy writers, she said, you should talk to Suzanne. Give her a call. So we called Suzanne to say, could we, we know you're Frank, could we talk to you about writing? And she said, you really wanna talk to my husband? So she put Greg on the phone. He didn't know who we were. We, he then I, whatMichael Jamin (00:05:11):Was Greg doing at that time?Jonathan Aibel (00:05:13):He had moved to la I think he was doing Seinfeld at the time or had done the freelance, the parking spot on Seinfeld. Oh, I didn't, yeah, he'd come off of snl.Michael Jamin (00:05:24):Right.Jonathan Aibel (00:05:25):And he gave the most basic advice that now you would probably give people, or you'd Google this. And it was, and Glen wrote it down, it was moved to Los Angeles. Mm-Hmm. . Okay, okay. What else do we need to do? Like the how do you become a writer? And just super helpful in that regard. And then we moved to LA and never ran into him until King of the Hill. We had our first meeting and Glenn, I think he may have brought the pad and said, it's your fault. We're here.Michael Jamin (00:06:00):But how did you get the meetingJonathan Aibel (00:06:02):That, that it was just through our agent. There's this new show starting up, it's animated. I don't wanna do animation. I know, I know. And it's non gild. Yeah,Michael Jamin (00:06:12):I know aboutJonathan Aibel (00:06:13):That. And you're gonna work in a full year for 12 episodes. Mm-Hmm. . Well, this sounds terrible, but it's Greg, it's Mike Judge who's coming off of Beavis and Butthead. Mm-Hmm. . And you will learn a lot whether it's a hit or not. And we thought, well, that's probably the best reason to, to take a job. There's nothing to see. There was no pilot even, there's just a script. Right. There are no voices to listen to. It had been cast. So it was really just going under the assumption that, well, anytime you think something's gonna be a hit, it never is. So let's take a job just based on the people. And I don't think at that moment we had there, it wasn't like, do we take this or do we take this? It was, well, do we take this or do we just hang on? And, but you had no, I think maybe we hadn't,Michael Jamin (00:07:04):You didn't have any other credits before that, did you?Jonathan Aibel (00:07:06):No, we had done, we started off, oh, we did an episode of the George Carlin show. We had done, youMichael Jamin (00:07:13):Were right down the hall from me. I didn't know that. Cause I was a pa.Jonathan Aibel (00:07:15):Right. Well, we had done a freelance. A freelance,Michael Jamin (00:07:17):Doesn't matter. You were in the Warner Brothers building, building 1 22 or something. Cuz that's where it was.Jonathan Aibel (00:07:21):Well, here. No, cuz here's our great George Carlin story is that we wrote this script for Sam Simon. Right. We turned it in. We get a call a few weeks later from someone at the studio who said, great episode. And we said, oh, you read the script. Well read the script. Did tape last night.Michael Jamin (00:07:42): just slapping the face. Yeah.Jonathan Aibel (00:07:47):We were not invited to our own tape. So we watched, we had a party, we watched it at home. Look, our first, our first big creditMichael Jamin (00:07:54):That, but that's amazing too. How did you get, how did you pitch that? You're skipping all this good stuff.Jonathan Aibel (00:07:59):Ah, our agent just back then we were, we were new. I think we had a couple, we've done a, a sketch show on Nickelodeon that got us in the guild that got us an agent. And interesting. He just put us up for stuff. So one of them was this freelance of of Carlin. And one of the other things is we went to pitch Sam mm-hmm. , who it was, it was a hazard. Like he had a deadly sharp throwing stars on his table. So you'd go to like, oh, what's the paperwork? Don't touch those. They were razor sharp. And he also had a couple vicious dobermansMichael Jamin (00:08:42):In the office. Yeah, I remember that. I remember that.Jonathan Aibel (00:08:44):Then he also had, what we assumed was his story editor sitting at the table as we pitched him some story ideas. And then we left and realized, no, that was his next meeting. The next writer who's gonna pitch story idea sat at the table while we pitched ours. And then we left. And he stayed and pitched his,Michael Jamin (00:09:02):That's a littleJonathan Aibel (00:09:03):Unusual. It was a very, it was, it was a very odd thing. But that worked out in the sense that we got the freelanceMichael Jamin (00:09:10):Your scripts must have been very good then. I mean, cuzJonathan Aibel (00:09:13):I don't think they, I don't think so.Michael Jamin (00:09:15):It must have been if you would've got an agent that easily and got to be able to pitch these shows.Jonathan Aibel (00:09:19):Well, the, the agent, I don't know if it was easy. We, well, what happened was what Mo what happens to most people is you come out and you think, we need to find an agent. We need to get an agent. We're not gonna get a job without an agent. Right. And then you meet all these agents, they love you, they love your stuff, and they say, get a job. I'm happy to sign you.Michael Jamin (00:09:37):Yes.Jonathan Aibel (00:09:38):And we realized we're not going to get work, but just an agent. We need to get work somehow. And just by knowing people, talking to people, we wound up at M T V. Mm-Hmm. doing a game show.Michael Jamin (00:09:54):Which show was that?Jonathan Aibel (00:09:55):It was called Trashed. Think It finally Made it there. We just worked on the pilot and then got to know people on the, on the hallway. We share, we were in damn TV buildings. And next door were some writers on this Nickelodeon show. And a couple of the writers had just left. And someone said, oh, I hear they're, they're looking to hire. Wow. So we said, Hey, we, we've got sketches. Can we, can we meet? We the executive producer read our stuff, met with us, and said, yeah, I'll hire these guys. We went to our agent, the, the potential agent, and said, we just got offered a guild job. Do you wanna represent us? You, there's no negotiation other than you say, yeah, I think I can get my boss to sign you. Sure. And that was it. And then we were in the Guild. We were having fun writing, and I had had credits, but I, I wouldn't say we necessarily knew how to write. We knew how to be funny and come up with gags mm-hmm. . But the idea of how do you write a scene, how to you write a script was right. Was a little bit mysterious.Michael Jamin (00:11:01):But, and so you, I so you met Glen, you were just, you were, he was a coworker at when you were in your consulting firm. And then how did you both, like, did you, so you never even dreamed as a kid of being a writer. It was ne like, how did this come out of, where did this come from? This writing thing?Jonathan Aibel (00:11:14):I don't think I had any idea that people wrote for a living.Michael Jamin (00:11:20):Mm-Hmm. .Jonathan Aibel (00:11:22):Like, you didn't, you'd watch shows and you wouldn't think, I don't, I don't really know what I was thinking. Like, if I went to see a play on Broadway, I knew a human had written it, but there's something about TV where you would think like, I don't know, those are characters who would say these words and you don't think of 10 people in a room writing those words. So it wasn't until Stimson's and Seinfeld started breaking through that, I started feeling like, whoa, there's TV here that I'd wanna write. And later I found out it was because people just a few years ahead of me at Harvard,Michael Jamin (00:12:01):Right.Jonathan Aibel (00:12:01):Were writing those shows. So I was sort of thinking like, why does this feel like it's my sensibility without realizing I was kind of swimming in the same waterMichael Jamin (00:12:09):They had? You weren't on the Lampoon then. No.Jonathan Aibel (00:12:11):You didn't have a no idea that this is something,Michael Jamin (00:12:14):How did you know you were funny then? Like, you know, IJonathan Aibel (00:12:18):Mean, I, I think I always had a sense of humor and was known for being funny slash maybe sometimes disruptive, but cleverly disruptive in school. Right. Like, I was, I'd done musical theater, so I was okay fam like, I, I wasn't like unfamiliar with entertainment.Michael Jamin (00:12:40):Right.Jonathan Aibel (00:12:42):But that was different from thinking, you know, that's something you can make a living at. And then it was right around that time where these articles started coming out about the number of people who had gone from the East coast to LA and how many Letterman writers.Michael Jamin (00:12:56):Yeah.Jonathan Aibel (00:12:56):And SNL writers and Simpson's writer and Seinfeld and Frazier and Cheers and all these. That opened up my eyes to wait a minute, this is, you could make a living,Michael Jamin (00:13:07):But when you,Jonathan Aibel (00:13:07):I went to, I had no idea.Michael Jamin (00:13:09):When you quit your job, then you came to LA you'd had no job. Right. You were what? You were just like, I'm gonna live off my savings. Or what would you do?Jonathan Aibel (00:13:16):Right. We, we, we saved up from, I I, I think Glen says he sent away for grad school applications. His second day of work is how, how quickly he knew that place wasn't for him.Michael Jamin (00:13:30):He did it just .Jonathan Aibel (00:13:32):It was a little, a little later in the process, but we started writing at night. Like we found out you gotta write a specMichael Jamin (00:13:40):Script. Right. And you guys are roommates too?Jonathan Aibel (00:13:43):No. No. We, we weren't, but we wouldn't sometimes call in sick and then work on ourMichael Jamin (00:13:48):Right.Jonathan Aibel (00:13:49):Ourselves or Glen would stay home and, and turn the light onto my cubicle and put a Right. Put my suit jacket over my chair. , you know, it wasMichael Jamin (00:13:58):All these, oh my God. Jonathan Aibel (00:14:00):Our heart wasn't really in it, but we stayed and did the job and, and saved up.Michael Jamin (00:14:05):Right.Jonathan Aibel (00:14:06):So that we could move to LA And we didn't move out to LA like I think we were, we approached it, the way we approached consulting, which was this, this was my job as a consultant, was I was given a list of doctors and it, we had sent them a survey and it was go down this list, call each doctor's office and ask them if they filled out the survey. So it's like, hello, Dr. Levine, my name is John Avon. I'm calling on behalf of this. And we've sent a survey. I was just wondering if you had a chance to, to, and I would just have to do that for hours. And the skill it taught me was just pick up the phone and call people.Michael Jamin (00:14:47):Right.Jonathan Aibel (00:14:47):So when we were thinking of moving to LA, it was, oh, you should like calling Suzanne.Michael Jamin (00:14:53):Right.Jonathan Aibel (00:14:54):Instead of saying, ah, she doesn't know me. It was just, okay, she's just like a doctor. I'm calling you. She doesn't want to talk to me. She'll just, you weren'tMichael Jamin (00:15:01):To call, were intimidated at all. You, you had, you weren't intimidated at all.Jonathan Aibel (00:15:04):I don't think I knew to be intimidated. We were in Boston at the time,Michael Jamin (00:15:08):UhhuhJonathan Aibel (00:15:09):. We didn't, you weren't surrounded by people who had this dream of going to Hollywood and then came home with their tail between their legs and said, now it's awful out there. Right. It was, that place seems fun and sunshine and I knew people, people from school, people, friends of my brothers had lived were, were out there. So when we showed up, it felt like there was a, a group, there was a, you weren't alone. It was there other people here pursuing the dream, but not so many that you felt like there's no chance this is gonna happen. Like we were, I don't know if cocky is the word, but because we didn't know any better. We were just know it's gonna work outMichael Jamin (00:15:48):And itJonathan Aibel (00:15:49):We're gonna, we didn'tMichael Jamin (00:15:49):How long did it take for you to get work, but when you moved out here, it sounds like a fa it was fast.Jonathan Aibel (00:15:53):Well, we moved out in September and we got the game show started in December. And then I think amazing by the following summer we were on the Nickelodeon show.Michael Jamin (00:16:07):What show was that? What was thatJonathan Aibel (00:16:08):Called? It was called Roundhouse.Michael Jamin (00:16:10):I don't know that one.Jonathan Aibel (00:16:11):Right. Bruce Bruce Gowers who just passed away two days ago. Who did The Queen, the Bohemian Rapley video. He was the director of it.Michael Jamin (00:16:19):Oh wow.Jonathan Aibel (00:16:20):But there's a little little roundhouse trivia. It was really fun. It was a lot of in living color writers.Michael Jamin (00:16:25):Wow.Jonathan Aibel (00:16:26):Between gigs were there. So it had dancing and original music and it was a sketch show for tweens on on sncc.Michael Jamin (00:16:36):Sncc. Is that what it was? Really? Yeah. It's so funny cuz this show here was on Nick at night, which was supposed to be not Nickelodeon and Nick at night. No, it'sJonathan Aibel (00:16:43):Different.Michael Jamin (00:16:44):But it's not because it, Nick, I don't remember if Nick at night started at 8:00 PM or 9:00 PM or whatever. But see, my, my partner I siever it used to say, but it's the, it's the babysitting channel up until, you know, 8 0 1 and then it becomes racy. But the parents don't know thatJonathan Aibel (00:17:00):. Right. no one's turning you.Michael Jamin (00:17:02):Yeah. So the, we got a lot of peopleJonathan Aibel (00:17:04):From was Saturday night. Saturday night. Nick is a whole otherMichael Jamin (00:17:07):Ball game. Oh, is that what that is? Sncc? Yeah.Jonathan Aibel (00:17:10):I guess they could have also done it Sunday without changing the name. Yeah. But it was SaturdayMichael Jamin (00:17:15):Or Wednesdays. Wednesdays or Thursdays. Anything, any day that ends with an sJonathan Aibel (00:17:23):That's true. Wednesday, Wednesdays Nick.Michael Jamin (00:17:25):Yeah. Anyway, that's why we're not in the marketing department.Jonathan Aibel (00:17:29):My point though is by the time we got to King of the HillMichael Jamin (00:17:32):Yeah.Jonathan Aibel (00:17:34):We had had, we had worked on a, a show that was real old school in its joke telling, like real strong set up three a page, boom, boom, boom, boom. Then we worked on another show that was very emotional where it was single woman in the city kind of show. And that was, it wasn't, not funny, but it was as a writer there it was, wait a minute, I'm supposed to tell a story that isn't just the situation of situation comedy. It wasn't just the character loses her driver's license and has to go to the D M V and this crazy stuff happens. Mm-Hmm. , it was thinking about the, the internal life and they're Okay. That's an interesting then,Michael Jamin (00:18:23):But then when did you learn actually how to write like story, a story structure? When did, is that King of the Hill?Jonathan Aibel (00:18:29):I think so. The other, the, the show that was very joke heavy. The other thing you learn on a joke heavy show is, is the, the tricks. The okay, someone comes in and says something and then at the end of the scene someone repeats it in a callback andMichael Jamin (00:18:44):Right, right.Jonathan Aibel (00:18:45):Then people laugh and the music plays and you dissolve slowly to the next scene. And they're, they're like they're like weapons. They could be in that they could be used for good or evil.Michael Jamin (00:18:55):Right. Right. SoJonathan Aibel (00:18:57):By the time though, we got to King of the Hill, I remember pitching the very first week to Greg and you just have no idea what this show you're thinking the Simpson. So, okay. I remember we pitched something like Dale's an exterminator. So he tens a big house and then people think it's a circus and starts showing up at it.Michael Jamin (00:19:19):Oh, I like thatJonathan Aibel (00:19:20):. And Greg's like, oh, that's the little, probably by season eight that would've been a season eight idea. That's good. But in the beginning I think that's a little not observational enough. And, and, and it's sort of like, well what do you mean to define observational was the, the question like how do you find comedy out of human, actual human behavior?Michael Jamin (00:19:48):Right.Jonathan Aibel (00:19:48):In the way, how do you observe what a person would do in a, in a real life situation? And no one had really done that in animation, which was Yeah. The, I think the brilliance of Mike and Greg was to say, well, what if you take this style that's associated with unreality Right. And give it more reality than anything else you've seen in animation.Michael Jamin (00:20:09):And that's what was unusual because we used to say in many ways just king of the Hill was less of a cartoon than, than just shooting me. I mean, just shoot me was more of a cartoon. You know, it was, but, and it's unusual cause you'd say, I I even back then I was like, well why is this show animated? Like, cuz you no one's eyes popping out, no one's running on air. You know, no one's doing any Daffy Duck stuff. But I guess it was just because you could shoot it like a movie and it could be real. But you didn't have the, you didn't have the budget. WellJonathan Aibel (00:20:39):You're probably overthinking it cuz it was just the real reason is they had to deal with Mike and Mike's an animator and this is what he wanted to do.Michael Jamin (00:20:46):. I guess so. But usually why is it animated? Like, you know, otherJonathan Aibel (00:20:50):Than because Yeah. That's, that's why are, why are, why is this? It's cuz cuz Mike wanted, he saw it. No, that was his thing. And, and he didn't. And, and that's great. That's as, that's as good a reason. And how,Michael Jamin (00:21:04):How much was, and I've heard stories, but I think people wanna hear this. How involved was Mike like literally on a day-to-day basis in those early years with the show?Jonathan Aibel (00:21:13):Huh. I can't say I know the full scope of it because I'm sure he was more involved in the production,Michael Jamin (00:21:22):But he wasn't in the writer's room. I mean, I know like,Jonathan Aibel (00:21:24):No, cuz he was living in Texas.Michael Jamin (00:21:26):Right.Jonathan Aibel (00:21:27):So he would come in and then we would do the story retreats, maybe you remember. Yeah. Or we'd go to Texas and and meet with him, or he would come in or we'd go to his house. It re it was Greg on the day today. And then I don't really know what the, the communication between the two of them was. Right. I, I'm pretty sure Mike's deal was, I have a life in Texas and I don't wanna move to LA and do this grind cuz he had done that grind for Beefs and, but, and the Beavers and Butthead movie.Michael Jamin (00:22:01):Right, right.Jonathan Aibel (00:22:03):So I think that's what Greg took on.Michael Jamin (00:22:06):But yeah, he,Jonathan Aibel (00:22:06):It was a great combination.Michael Jamin (00:22:08):He have notes though. He I remember, you know, even on on the, on the audio track, you could sometimes hear him say, I'm, that that line's not right. He'd tweak a line or whatever, you know? Yeah, yeah.Jonathan Aibel (00:22:19):Yeah, you get his little I'm not gonna say that. How aboutMichael Jamin (00:22:23): not gonna do that. But, but then, okay, so then you guys rose up to the ranks cuz only in five or six years you were running the show, which is a pretty fast climb to be able to run a TV show after only that short amount of time is kind of crazy almost. You know, IJonathan Aibel (00:22:38):Think we were a and meanwhile feels like, oh, we're not getting anywhere in this town. And some of that is because you do a show. We were, we'd probably done a year of it worked under the year before it even premiered. Right. So you're putting all this into it and you don't know if it's gonna be a hit. And then the surprise was, it, it was doing really well. And then you have no time to enjoy it because you're halfway through starting season two. It was, it was both really exciting and just crazy exhausting. And itMichael Jamin (00:23:12):Was,Jonathan Aibel (00:23:13):Yeah. Like 3:00 AM And that's sort of fun sometimesMichael Jamin (00:23:19):When you're young, it's inJonathan Aibel (00:23:21):The beginning where it's, hey, it's like college, right? We're all hanging out. We're just being funny. And then you start dating and your partners saying, what time are you gonna be home? I don't know. Yeah. Or what time do you think I really, I don't know. Someone could come into this room in two minutes and say, we're good. Go home. Or someone could come in in two minutes and say, I just got Mike's notes. We need to start over. Yeah. You don't know. And that's a, when you're a staff writer, not so hard because you just do what you're told when as you move up and take on more responsibility. It, it definitely became less fun. Aspects of it were fun. Mm-Hmm. directing actors was really fun. Mm-Hmm. working with editing and storyboard artists and the animation directors fun. But the more stuff like, can I go to a dentist appointment on Wednesday? Let me see what's the staff, what, what room am I in today? Like, I, I left consulting because I didn't wanna be a, a manager. And that's wh part of show running is that, and for us, that was the, that wasn't the fun part. The fun part, as we say, Glenn and I would note you rise up and become a showrunner based on the strength of your writing. And then you get to a position where you don't have time to write anymore.Michael Jamin (00:24:41):Oh. It's not only that people, cause I people, they reach out to me all the time, you know, that I wanna be a showrunner. It's like, I just wanted to be a writer. Like, cuz be a show. It's like you just said, you, none of us become comedy writers because we wanna be managers. Like that's not, and when you're a show owner, that's what you're doing. You are managing other people. Yeah. And and, and we're not equipped, we're not prepared for it. And we don't necessarily even want to do that. And, you know, it's a, it's a, it's a hardJonathan Aibel (00:25:06):Leap. Right. And it was, it was definitely challenging also, cuz you're putting all this work in, then you realize, this isn't even my show. This is Greg and Mike's vision, and you're just trying to fulfill their vision. Right.(00:25:21):Like, I can see running my, if Im running my own show saying I love this idea and this is my baby and I'm gonna protect. And I just, I want to be the ur here. I want to see my vision through. But so much of show running isn't that at all? It's, it's, Greg would describe it as it's sort of like pottery where you would make a pot, put it on the shelf and all right, what's the next one? Sometimes they break, sometimes they're not quite formed. But you don't have time. You gotta get to the next Right. Get to make another pot.Michael Jamin (00:25:53):But do you have, and I wanna get to your film career, which is very impressive, but do you have, did you have any like, eyes to go back and do any kind of television, even creating your own show?Jonathan Aibel (00:26:03):We, after King of the Hill, we, we wrote a few pilots. We were at Fox and writing pilots. And it was a weird time in TV where every year Fox would say, we don't want single camera shows. We need, we need Multicam, we need to pair them with whateverMichael Jamin (00:26:20):Right.Jonathan Aibel (00:26:21):Hit they had there. We need another, we need to pair this. So we'd write a multi cam and then they would only pick up single camera shows. But I think that happened two or three years or whatMichael Jamin (00:26:29):Yeah. What's,Jonathan Aibel (00:26:30):What's going on? So we started realizing, I, I think we were kind of spoiled by King of the Hill. It was, it was just creatively, it was just an amazing show. And so fun to write those characters and work with those actors and work with that staff that after that it was, I don't, it's hard to just go and do sitcoms. I mean, like, I enjoyed the form, but I couldn't see myself spending 10 more years doing that. And it felt like the the air was coming out of that format.Michael Jamin (00:27:07):Then how did you, how did you jump into features?Jonathan Aibel (00:27:10):Well, it started because King, as I mentioned, king of the Hill was not a guild go in the first years mm-hmm. . So we're doing it, we're in our second or third year, and we realized we're gonna lose our health insurance. What, what? I mean like, it was a very adult sounding realization of, oh, health insurance. What I, I hadn't even been thinking. Because when you're in the Writer's Guild, it's amazing. On a time I was 23, I had health insurance.Michael Jamin (00:27:40):But you had health through the Animators Guild though, through tag.Jonathan Aibel (00:27:43):We weren't animated animation. We were No, it was not unfamiliarMichael Jamin (00:27:47):Anybody. Oh no. Wow. I didn't know that.Jonathan Aibel (00:27:51):So we said to our agent, we need, we need either freelance episodesMichael Jamin (00:28:00):Mm-Hmm. Jonathan Aibel (00:28:01):Or we need to write a feature. And she said, well, do you have a feature spec? And we said, no. And then, and to her credit, she said, there's this director, he's been hired to direct a reboot of Freddy, or of Friday, it was Freddy versus Jason.Michael Jamin (00:28:20):Mm-Hmm. .Jonathan Aibel (00:28:21):And he loves King of the Hill. And basically it was, can you give him a fun, fun, he's got an idea for story fun characters that he can then kill. Like it was right around Scream had come out. So there was this, the, the Birth of Hard comedy.Michael Jamin (00:28:38):Right.Jonathan Aibel (00:28:39):So he said, yeah, we can do that. And we, we met him, we got along, he loved the show. We, we love working with him. So we wrote this script, which then, which then didn't get produced. But it was, oh, this features is kind of like writing King of the Hill, but longer.Michael Jamin (00:28:59):Right.Jonathan Aibel (00:28:59):You just kind of write King of the Hill and then you keep writing and keep writing and then you have a hundred pages of King of the Hill instead of 22. Right. But the three act structures similar. And the idea of thinking about a character and how do you write a character, we realized it's kind of more cinematic than episodic television. Like the things we were learning were more applicable to writing features than writing sitcoms at that point.Michael Jamin (00:29:28):Yeah.Jonathan Aibel (00:29:29):So when our television deal was nearing its clothes, and we were thinking, do we renew it? Do we throw our hats out there as, as showrunners for hire? And we thought, you know, let's, let's write, maybe we can write some more features. And we just started getting some rewrites, doing some originals.Michael Jamin (00:29:50):Mm-Hmm. .Jonathan Aibel (00:29:52):And you can start making a, a decent living writing movies and never get made.Michael Jamin (00:29:57):Oh, for sure. At least you could then. I don't know if it's nowJonathan Aibel (00:29:59):Yes. Yes. Then you then you could. But it was super frustrating. Yeah. Because everything would be about to go and then there would be a reason mm-hmm. it wouldn't go. And there were none of those reasons were under your control. And you, you could, you would do a great job and everyone would love it. And then, oh, this movie just came out. Yeah. Basically the same premise. So, sorry.Michael Jamin (00:30:20):Yeah.Jonathan Aibel (00:30:21):And that's when we had been meeting this, this fantastic exec name Christine Belsen, who was then at Henson.Michael Jamin (00:30:30):Mm-Hmm.Jonathan Aibel (00:30:30):. And we were huge Muppet fans. Right. And she brought us in and we totally hit it off. And she said, I wanna do a Muppet kung fu movie.Michael Jamin (00:30:39):UhhuhJonathan Aibel (00:30:40):. And we thought, oh my God, yeah, that would be so great. Yes. Sign us up for that. And we said, but you know, we read that that Dreamers is doing this Jack Black, kung fu kung fu Panda movie. And she said, oh, those movies take forever. I don't think it's, I I wouldn't worry about that. So then we don't hear from her for a while. We're worried what's going on. Then we get a call from her. Okay. So I moved over to Dreamworks and we're looking for writers who come from Panda.Michael Jamin (00:31:08):Wow.Jonathan Aibel (00:31:08):And we said, oh, okay. So it was just a case where it started off simple enough, they asked us to come in for just two weeks of consulting to see what they had underway and talk about the story. Cuz it was in a roughMichael Jamin (00:31:25):But had be different. Dreamworks has a whole different system over there. So what do you mean consultant? Cause I know they worked very differently from other studios.Jonathan Aibel (00:31:33):Well, so there had been writers who, well kind of what happens is, you know, king, king of the hill, the Simpsons though, shows very writer driven. Right. It doesn't have time. You don't have time to be anything other than ri writer driven. So the animators are given the script and the audio. Right. And they're So draw this,Michael Jamin (00:31:54):Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.Jonathan Aibel (00:32:18):And in feature animation, Dreamworks especially, they may take that script and they'll take tens, the first 10 scenes of act, the first half the movie and give it to 10 different storyboard artists who will take that and read it and say, I see what this scene is doing, but maybe I can do it this way. And they will draw something and write it and animate and, and storyboard it and often record the dialogue themselves. And it's sort of like almost like what is it? 32 short films about Glen Gould where you end up with these almost mini movies in the beginning of a movie anyway. Like at the start of a development process where you would watch this movie and say, okay, that PO is different from this PO who's different from that po. And you watch it and you think, this doesn't make any sense, but I can start to see a story in there.(00:33:13):And then they'll do it iteratively. So then you're on that scene there, that moment I really understood who the character was. So more of that moment. So by way of saying, you may have someone who came in and wrote a script, but they might be long gone at this point cuz now it's been torn up it's storyboard and now you're walk working off transcripts where they've written down what's on screen. And that's what you're rewriting off of. So by the team time we came in, there was like a movie ish. Like you could, there was something in black and white you could watch mm-hmm. that everyone knew wasn't necessarily coherent. But the point isn't coherence. The point is what, what jumps out at you? Like we watched and said, oh, I think what you're doing is, it's kind of like a Cinderella story, right?(00:34:06):He's the guy in the beginning who wants to go to the kung fu ball mm-hmm. and can't go. And then the Prince points at him, and then he goes on this thing, and now the bad guy's coming for him and he doesn't know. And is he the chosen one? Or isn't he the chosen one? It's like those are like, now it's, it feels a little glib for me to say that as if it were obvious. It, it was, it's it was not it obvious. It's, it's, you're sitting there thinking, is it this story? No. Maybe it's the story. Some of it is, there are, there are two, Jack, Jack has, Jack Black has two kind of two great. Our type of our typical characters. One is the high fidelity like the jerk Yeah. Who deep down is suffering from low self-esteem. Right. And then he has the friendly guy who deep down is suffering from low self-esteem.(00:35:00):Right. So some of the, the production of the, the development of Kung Fu Panda was, which, which Jack is in our movie. Is he the guy who's chosen to be this kung fu guy and then realizes, oh my God, this is great. Now I don't have to work anymore. Now I can just go to the palace and hang out and relax and, and live it up until he finds out there's a responsibility. So there was some of that version of the movie. Then there's the guy who's wishes more than anything. He can be the kung fu master, but knows because of he's a big panda. That's impossible. Cuz Panas don't do kung fu and then his dream comes true. And then he has to, you know, that's what the movie ended up being. But when you started seeing that character in the opening reel, you'd say, whoa, I, I wanna, I, I wanna know more Right about that. And that's the magic of these time. You hadMichael Jamin (00:35:51):To sense of it. But see that's what I'm, I'm curious though, cuz for me it seems counterintuitive. It feel, it feels like you're putting the cart ahead of the horse. It's like, you know, I wonder if, was that, did you feel the same way? Because usually, you know, okay, we have an idea. We come, we have Ari, the writers come up with a th a thread, you know, through line and there's a story and Well,Jonathan Aibel (00:36:09):It's, it's inefficient for sure. But I think you can look at animated movies for the most part as a genre and say for the most part they're really well constructed.Michael Jamin (00:36:22):Right.Jonathan Aibel (00:36:23):And I think this is, this is why, because if a writer's gonna, it's very hard to create a great movie off of six drafts, even eight drafts, 10 drafts. Mm-Hmm. and, and just see it on paper and say, yeah, that's gonna work. Because no one knows how to read a script.Michael Jamin (00:36:43):I see.Jonathan Aibel (00:36:44):Like, even as a professional writer, I don't think I could read a script and say, this is gonna be an amazing movie. You can say this is a great script. Right. But is it gonna be an amazing movie? I don't know, an animation, you're making the movie as you're writing the movie, so it's not you, it makes sense. Theoretical. Is this gonna be good? It's ah, I, I see that moment. I see Poe and his father. Right. Having that moment where Poe is afraid to tell his dad what he wants to do with his life. I see. That's one thing. Makes sense. How do we build on that?Michael Jamin (00:37:17):Right. That makes sense to So it's very collaborative with you and the animators then.Jonathan Aibel (00:37:21):Oh yeah. The storyboard team, the directors, the producer, the actors, Uhhuh . It was it very different from TV animation. Right.Michael Jamin (00:37:32):SoundsJonathan Aibel (00:37:32):Very different. And I, our, our, one of our first the first moment we realized that was the producer said, I I want you to sit in a room with this guy, a storyboard artist and talk about the scene and what it could be. So we sat with him and we worked line by line. We hopped it and said, it could be this could be this. Yeah. I could draw this, do this. Said great, we're gonna write it up. We wrote it up, gave it into him. Three weeks later we go to watch the scene. It's nothing at all we discussed and went to the producer, but a, a thing. She said, yeah, I know, but I know he's kind of out there. And I wanted to see what he would take your stuff and give you, you know, if you, if all you want, if all you're expecting is the best version of what you've already done, you're closing off the chance that you'll be surprised by something.Michael Jamin (00:38:24):Right.Jonathan Aibel (00:38:25):So that's cool. On the other hand, sometimes in their scenes where you just say, can you just please do the, the pages? Right. Like, we've thought a lot about this. We understand. And there's some scenes in that first movie, which went pretty much from our pages to the final version. Cuz they were just compact. They made sense. Right. There wasn't a lot of room, but there wasn't a need for a lot of exploration. It was okay, that works. So let's just get that right going and move on to the theMichael Jamin (00:38:52):Others. So they brought you in under contract for a couple of weeks just to see how you would respond to the animators?Jonathan Aibel (00:38:59):Yeah, we had a after, well, no, to see what we would, it wasn't a trial. It was, they thought in 10 days we would give them an outline that they could work off of.Michael Jamin (00:39:12):But even still, you, they, they knew that they would probably go off via the reservation and you'd be required to Yeah. But that'sJonathan Aibel (00:39:19):Collaborate more. That's, but I think that happened a lot. It wasn't, it was more of then when we pitched our take on it to Jeffrey Katzenberg and he said, great, when you, when can you guys start writing Uhhuh. ? Okay. And then the other people lo looked at each other like, oh, I guess we, I guess we should probably get that, put that deal in place. So then we wrote a draftMichael Jamin (00:39:38):Mm-Hmm. .Jonathan Aibel (00:39:40):And then they took the draft and then started going through that process of tearing it apart. And at, at which point they realized it would probably be helpful to have us around. And I think it, what helped is that coming from tv, we, we knew storyboards, we knew how to read storyboards. We knew what happens in an editing room and how actors perform. Right. So we came to it with production skills or an, an understanding of the process that that helped us come in and say, oh, I think you could, you can cut a few frames there and actually know what we were talking about. At, at the same time, the, the big difference was television is it's a, it's a sprint as you know. Yeah. It's, you need to get this done because the actors are gonna be here at 10:00 AM to read this and record this.(00:40:35):So you need something for them. So we were approached feature animation, we gotta get this done, we gotta get this done. And then what you realize is that you, that's the exact wrong way to do because you, you get it all done now then when stuff starts changing, you've already written stuff that's, it's obsolete before anyone has seen it. Right. It's like animation is best. I think it's like, it's a marathon of sprints where we need, this scene has to go into production and Jack is coming in Thursday to record this. We need these three pages done. All right, we'll get it done, we'll get it done. Great. Now in six weeks, we're gonna need sequence 1500 going into rough layout though. That's the next one. I know it's,Michael Jamin (00:41:21):But you're working off an an outline. You know what the story is, right?Jonathan Aibel (00:41:24):You do and you don't. Isn't that, I know that's a weird thing to say, but you, Lenny, I can't tell you the number of boards there that would say big battle, like act three, big battle you know, wrap up epilogue.Michael Jamin (00:41:39):Is this the way animation movies were done like at Disney back in the day? Is this where they're getting this from?Jonathan Aibel (00:41:45):It's possible. I I think what where it comes from is that what's your expense, your greatest expense of time. And therefore money is the animator, the person at Disney drawing the cell mm-hmm. at Dreamworks. That final, the final editor moving frame by frame. That takes a lot of time. And it is such a skill and the people who do it are so brilliant that it's not like you can say we need six more animators who can capture Poe. It's, there's this guy Dan, Dan Wagner, just a brilliant animator and he was the one who could give Poe his soul.(00:42:29):Right. So you only get so much Dan. So you don't want to give Dan 10 scenes to do and say, we're not sure if these are all gonna work. But, so you are not giving the animators the scenes until they're ready at the same time. The animators can only do so much at the same time. So so while they're working on one scene, there's no reason to have the other scenes done. So it's sort of like you back, you back up into the process and you'd say, well if they can only animate these this much now mm-hmm. , well let's keep working on those other scenes and make them better and keep playing with them until it's too late. And then we'll, we'll turn 'em around. Right. So you really, you have the time to get it right. And if you said no, let's rush that. We, we gotta get All right. Now there's no reason to.Michael Jamin (00:43:16):It sounds like this cuz knowing how you guys ran King of the Hill, it sounds like this is like the perfect fit for you because you guys would often rewrite the hell out of a scene trying different ways and just experimenting.Jonathan Aibel (00:43:26):That was, I I think Thank you. I think it was, it, it it is a good fit for us to, to have said, okay, we've written that scene. There, there are a lot of exercises that are, are kind of cool that you can use, which is stuff like, well let's write the opposite. Right? You have someone come into a scene who's really excited, like, well, what if they came into the scene feeling the other way and that you flipped. You kind of have that, the opportunity to exploreMichael Jamin (00:43:58):More. Right.Jonathan Aibel (00:43:59):And then, and know that there's no punishment for it because the whole point is to experiment.Michael Jamin (00:44:05):Right. That's the point. So did they keep you under, how does it work? Do they keep you under contract at that point, Dreamworks, to do other movies? Or are you constantly pitching them to get assigned other projects orJonathan Aibel (00:44:17):That No, we had, we had a, it was great in that it started off, I think it was, we were there four days a weekMichael Jamin (00:44:25):Mm-Hmm. Jonathan Aibel (00:44:26):And I think at the time we were in person then it would be three, then after six months, three days a week, as there's less to change, they need less abuse. So then it was two days a week, then one day a week. And then at the same time we were doing other rewrites in other studios. And I think it was when we got down to one day a week, they said, you know, we have this smoothie monsters versus aliens when you wanna work on that. Right.Michael Jamin (00:44:49):So you were never squeeze.Jonathan Aibel (00:44:51):We were one day monsters. Four days.Michael Jamin (00:44:53):All right. So you were alwaysJonathan Aibel (00:44:54):Kind. Yeah, always. Show by show.Michael Jamin (00:44:56):I see. You're always jumping. Right. So it wasJonathan Aibel (00:44:58):Never, and then, and it, it was nice cuz you know, you don't wanna, we liked it because it led us take the projects that spoke to us that Right. Looked like they were gonna be fun. While also, like, the great thing about Panda was it was a hit came out. It was a hit. And when you've written a movie, it's a hit. People want you to write their movies. Right. So it, and and also people want you to write movies similar to the movie that was just a hit.Michael Jamin (00:45:28):Right.Jonathan Aibel (00:45:29):So it didn't matter that we had done King The Hill or other stuff. It was, oh, they, they wrote Fu Pan, they should write the Chipmunks movies. We'll offer that to them.Michael Jamin (00:45:38):Right. Right.Jonathan Aibel (00:45:39):So talking Animal, oh, here's another talking animal.Michael Jamin (00:45:42):So did you have toJonathan Aibel (00:45:43):Ever Thenn Bozer,Michael Jamin (00:45:46):Did you have to pitch, when you go on further assignments, are they pretty much yours because of, or do you have to pitch? Do you have to win that assignment?Jonathan Aibel (00:45:54):It's always a little of both. I mean, look, we were very, we were very lucky in that they weren't bake offs where Yeah. Six people are coming in to pitch this. It was, I think that the Chipmunks people really like Kung Fu Panda. It was just a rewrite. Can you come? It was over Christmas.Michael Jamin (00:46:16):UhhuhJonathan Aibel (00:46:17):. So I think that that definitely helped that they found us saying, yeah, we'll give up your, our holiday to, to write these pages for you.Michael Jamin (00:46:24):Right.Jonathan Aibel (00:46:25):But then the, the luck was these were, these became franchises. So then they come you for Comfort Panda Two and Comfort Panda Three and Chipmunks three. Right. And, and then we through people knew what Dreamwork got to SpongeBob. So then you'd do SpongeBob to second SpongeBob movie that led to the third SpongeBob movie.Michael Jamin (00:46:44):I didn't even mention those. Cause that's not even on your I M D B. We'll have to update that when we get off the, the Zoom. Yeah. What update your page? I didn't know any of this. I didn't know you did the I didn't know you did that. And so, okay. Because that's a big deal. Cause I, I remember, you know, when Si and I, we did, we did a couple of movies. We sold a couples, they didn't get made. We sold a couple movies and then we were all we're brought into you know, we didn't realize they were bake offs. We didn't, so we, we pitched for, you know, a couple big companies, I don't have to mention what they are. And, and we're told Yeah, you got the, you got it. You got it. And then only to discover that someone else got it. We didn't even know o other people were trying to get, like, we had no idea. And that's a lot. You're talking about months and months of heartbreaking wasted work and then the project never even made. So, but you don't really have it's true to deal with that True. Because of your level, you know. Yes,Jonathan Aibel (00:47:34):Yes and no. The the no is if they're, if you've worked with them on Kung fu Panda one, two, and three, there's a good chance they'll come to you for Kung fu Panda four.Michael Jamin (00:47:46):Right.Jonathan Aibel (00:47:47):So, and if you hit it off, feel like they may say, come in with some ideas and they like an idea. So they're not just saying, here's the deal before you've pitched anything. So there were meetings, but you know, they know you can deliver. That's kind of the main thing. Right. If it's people who you don't really know, then yeah. It's, they're rebooting this franchise and their hearing takes. And what we've learned, actually the hard way is if you're going to put yourself in that situation, you want to put as, I don't wanna say as little work as possible. You want to, you wanna do the right amount of work. That's the the best way where, but it's, we've, we've gone in and we've pitched I know, but we've gone in where we've pitched, you pitched for 20 minutes and then you realize by the second sentence you said the words they don't want to hear like, oh, that's not the kind of movie they want to do at all.(00:48:47):Right. And we've learned a better strategies to go and say, here, I I understand you wanna do a silly putty movie. I'm, I'm totally making this up, but here's, you could go this way where Silly Putty, it's a revenge story where it's a John Wick me silly putty. Right. Or it's the origin story of how a serious putty became silly putty because of a, of a family tragedy. And he's the clown who lasts through to you . Like, you know, each of these is an archetype movie. Right. And then it's, I don't know if any of those strike, well we kind of do like that. It's like, okay, okay, well we'll come back to you with that. It'sMichael Jamin (00:49:23):Interesting cuz you set the terms then over the pitch chart. Cuz that's not usually how we go in. We, here's the, here's the take, here's our take. And then, you know, you could be your, you could be completely off. I didn't know you had a choice.Jonathan Aibel (00:49:33):Well, this is a new, this is a new, this is a new realization. Uhhuh having, because you know, kind of what's happened is after doing a lot of these movies, you start to think, okay, I like this. I I know what I'm doing. What's something I don't really know how to do that I haven't done before mm-hmm. . And that's the type of movie where a person isn't necessarily gonna say, Hmm, get me the guys who did Kung Panda. Right. So you gotta hustle for those little more. And those were the ones where I think we were over preparing for many of them by saying we're gonna blow 'em away with the le attention to detail. Yeah. And especially in a Zoom era where you blow 'em away with the tension detail, they're thinking is I just need three sentences to bring the boss. Really? And it's hard because as storytellers you sometimes feel like, I can't, I don't, I'm sorry, I cannot pitch this idea unless I understand the character arts and Yeah. Right. The three acts and you're think, you know, maybe sometimes you can go in and say, and then in the third act there's a huge battle in which the forces of evil have to go against the forces ofMichael Jamin (00:50:39):I see. I would be worried about pitching something that I didn't know how to actually break. You know what I'm saying? Like, youJonathan Aibel (00:50:43):Know. Yes, I know. I, I you eventually, you just kind of have to have confidence and say, you know what, we'll figure something out. We'll figure, it's hard. It's really hard to, even at this point we'll go into a rewrite and say, what is that third act set piece? I don't know, but we'll, we'll, we'll figure it out. And it's in the back of your head thing if I don't get that.Michael Jamin (00:51:06):Yeah. Right.Jonathan Aibel (00:51:08):And then one day it'll be like, oh, wait a minute. Well, what if this happened? Because we just like, it will, it will come to you. And I think it's, it's a little, maybe this is the animation experience. It's a little foolish to even think I know what the perfect act three is before I've actually written Acts one and two.Michael Jamin (00:51:28):Yeah. But you andJonathan Aibel (00:51:29):Instead rely on your instincts and your experienceMichael Jamin (00:51:32):Wanna build to something you wanna, I I it's so, I'm, I'm telling you how to do it. I have no idea how to do it.Jonathan Aibel (00:51:37):No, but, but, but of course you will build to it, you know, you need to build to something, but you may not know the ingredients yet. Like, you'll be writing something and say, well, I'll give you a good example. In, in Conco Panda, we wound up having this, this pose, big realization. Mm-Hmm. that, can I give spoilers after 15 years after movies opened?Michael Jamin (00:51:59):I believe. I believe so. Okay.Jonathan Aibel (00:52:01):So Pose opened the scroll in it's blank, and he realizes he's failed. And his father says to him, it's okay, you can be a noodle old man just like me. And by the way, it's time. I told you the secret ingredient in my suit. And the secret ingredient is nothing. There is no secret ingredient. It was just to make something special, you just have to believe it's special. And really, that was just a joke about his father, who in the first scene we wrote that, oh, that'd be funny if he has a secret ingredient soup. And later we find out there is no secret ingredient. It's just a marketing gimmick. And it wasn't until he got to the later scene where someone, I think this bill Damascus, his name, he is, he was then the executive of dreamworks. And he said, I, I, I like what you're doing there.(00:52:49):You're kind of making comparison between the scroll being blank and the soup, not really having the spec, the specialness, it's that's it into here. And we said, that's not at all what we're, is that what we're doing? That is what we're doing. You know, like, I don't know if we consciously did that or everyone working on the movie was putting that stuff in there. But once, so if we had started with, what is it? We never would've gotten there. But like, it's funny you were talking about ingredients, but we had these ingredients of the father, the soup. We had this scroll that was blank, and it took a whole bunch of time. And thinking for a, a person to look at that with fresh eyes and say, I think you've given yourself the moment you need to do the rest of the movie.Michael Jamin (00:53:37):Do you think this is how they tell their movies at at Pixar? They have a different process. Do you thinkJonathan Aibel (00:53:43):That I I don't, I don't know all I've, all I know of the process there is, they seem to draw on tablecloths.Michael Jamin (00:53:51):Is that Oh, really?Jonathan Aibel (00:53:51):That I don't know. That was at, there's some documentary where they have this, this famous tablecloth that's amazing. Where it was, they weren't, the Brain Trust was meeting. And I said, well, here's some movies I think we could do. There's what if tos come to life? What, what if bugs come to life? What if Bumper Beyond that, I don't really know their process. It's probably somewhat similar.Michael Jamin (00:54:13):So. Interesting. And when you work, you know, you're, and I'm jumping around, but your partner, Glen, he doesn't, he lives not in la So how do you guys do, what do you work in on Zoom? Is that how you guysJonathan Aibel (00:54:24):Yeah, we, oh, we've been Skyped for, for years and years. Just, just audio. Just, I'm a, I'm Aist and I'll tell you why. JustMichael Jamin (00:54:32):Yeah, go on. And why just audio?Jonathan Aibel (00:54:34):I'm a Skype because Skype lets you Skype out. So you can call people's cell phones. So if our agent or lawyer or an executive or I know we need them to take a meeting, he's just stays in my ear and All right, let me patch him in and then you can Okay. Call. also we started before Zoom,Michael Jamin (00:54:49):Right?Jonathan Aibel (00:54:50):So we're And why no video?Michael Jamin (00:54:52):Yeah.Jonathan Aibel (00:54:54):Is, initially it was for bandwidth reasons. It was laggy at Skype at one point, and Glen was out in the sticks and didn't haveMichael Jamin (00:55:03):Because you could have used a cell, a phone. You know that Skype without video. It was a phone.Jonathan Aibel (00:55:08):Yeah. Yeah. There are a lot of other things we could do, but we realized I don't need to see him staring at me. I, I don't, I, and I, I'm not like the old married couple. We're okay with the silence.Michael Jamin (00:55:21):And do you,Jonathan Aibel (00:55:22):When you're going like this and you're not hearing anything,Michael Jamin (00:55:24):Are you on final draft collaborator? Is that what you're doing? Or what? No. Well, how'sJonathan Aibel (00:55:29):That? I know there's a lot of, there's a lot of that You could, we could do. And if it's real, really important, we might say, oh, let's, like now we outline on, on Google Docs.Michael Jamin (00:55:41):Okay.Jonathan Aibel (00:55:41):Instead of sending Word documents back and forth, is this, are you working on Tuesday's version? No, this is Thursday's. Wait. Now you, now you can see it. And that's useful. But I, I feel like daring, there are two ways to write. One is staring at the words and the other is staring at the sky. Right. And one day, some days I feel like doing one Glen feels like one sometimes the other like, I don't want to even know what's there. I just want to, but who's coming up with stuff? In, well, hopefully Glen, there have been times where we'll come up with a whole thing and then say, you got that. I thought you were typingMichael Jamin (00:56:20):.Jonathan Aibel (00:56:21):So we, we usually sa

Corpoworking, agilité, growth mindset, brown out… Toutes ces terminologies obscures - souvent en anglais - décrivent bien des phénomènes du monde du travail. Or, nous sommes souvent confrontés à deux difficultés : il y existe autant de notions que de significations possibles, et leur sens est rarement explicite.  Pour notre invité, derrière chaque terme du monde du travail se cache une définition originelle qui a été dénaturée. À tel point qu'aujourd'hui, employer ces mots est un moyen pour les entreprises de précariser le travail car cela crée un mouvement d'exclusion.    L'invité : Jules Thomas est journaliste emploi et management pour Le Monde. Pour lui, s'informer sur le monde du travail, c'est avant tout rencontrer des personnes aux différents profils. Il estime qu'un phénomène peut être considéré comme une tendance de fond à partir du moment où plusieurs personnes en parlent.  Les time codes : 3''00 : Les incontournables du podcast  6''20 : Les inspirations sur le futur du travail 10''00 : Le parcours de l'invité : du sport au travail  14''40 : L'argot de bureau, la chronique de l'invité 19''00 : Le corpoworking 25''30 : Growth Mindset VS Fix Mindset  30''40 : Deep Work VS Shallow Work  35''15 : Le Brown Out, kézako ?  39''50 : La nouvelle tendance de l'équicoaching 45''00 : L'embauche ouverte  49''50 : Les prévisions de l'invité  56''20 : Pénurie de main-d'œuvre ?  59''30 : La transition professionnelle 1''00:50 : Les recos de l'invité Les références citées dans l'épisode : Livre  # Le syndrome du patron de gauche : Le Manuel d'anti-management d'Arthur Brault-Moreau Séries # Caméra Café de Bruno Solo, Yvan Le Bolloc'h et Alain Kappauf # Severance de Dan Erickson # The Office de Greg Daniels, Paul Lieberstein et Ricky Gervais Podcast   # 25 - Prévenir et résoudre un cas de harcèlement au travail, avec Élise Fabing Autres  # Les journées du stade vers l'emploi  # Villa Bonne Nouvelle d'Orange # Sept tiers-lieu d'Action Logement Occitanie Abonnez-vous ici, à la newsletter Lundi au Soleil, qui sortira tous les dimanches à partir de 2023.  Pour découvrir tout ça, c'est par ici si vous préférez Apple Podcasts, par là si vous préférez Deezer, ici si vous préférez

Follow our Patreon at patreon.com/andalmoststarring On this month's Patreon-exclusive episode, we're tackling our first TV show as we break down all the actors who were up for The Office! Which Oscar-winner turned down Michael? Which MCU standout auditioned for Pam? And which actor started their audition by insulting the creator to his face? Also – we drop an Only Murders in the Building exclusive and try our darndest to not succumb to the effects of our booster shots!   The Office stars Steve Carell, Jenna Fischer, John Krasinski, Rainn Wilson, Leslie David Baker, Brian Baumgartner, Angela Kinsey, Kate Flannery, Phyllis Smith, Oscar Nuñez, B.J. Novak, Mindy Kaling, Creed Bratton, Paul Lieberstein, Craig Robinson, and Melora Hardin; created by Greg Daniels   Follow the Podcast: On Instagram: @andalmoststarring  Have a film you'd love for us to cover? E-mail us at andalmoststarring@gmail.com   www.andalmoststarring.com 

Rusty and Mike talk about their love of King of the Hill and what you can expect from this episode-by-episode podcast. Season 2 Episode 14: I Remember Mono (February 8, 1998). While working part-time at Hank's high school, Peggy learns that the story of her first Valentine's date may have been a lie. Bobby has a secret admirer. The episode was directed by Wesley Archer (supervising director). It was written by Mike Judge, Greg Daniels, and Paul Lieberstein. Learn more about your ad choices. Visit megaphone.fm/adchoices

Rusty and Mike talk about their love of King of the Hill and what you can expect from this episode-by-episode podcast. Season 2 Episode 11: The Unbearable Blindness of Laying (December 21, 1997). Hank's mother brings home her new boyfriend, an affectionate Jewish man named Gary. After Hank sees the two of them having relations, he goes blind. The episode was directed by Cyndi Tang and Wesley Archer (supervising director). It was written by Mike Judge, Greg Daniels, and Paul Lieberstein. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pour cette nouvelle semaine de vacances pour certain.es chanceux.euses d'entre vous, l'équipe de Quoi de Meuf vous propose de ré(écouter) cet épisode pour comprendre l'injonction qui existe autour... du maquillage !Spoiler : non !Le confinement a conduit beaucoup de personnes à arrêter de se maquiller. D'autres ont continué, par habitude, pour se créer un rituel ou pour faire des visios. Lorsqu'on s'intéresse au féminisme, on peut s'interroger sur la place du maquillage dans nos vies. Entre injonctions et empowerment, quels rapports existent entre genre, classe, race et maquillage ? Clémentine Gallot et Kaoutar Harchi en discutent dans ce nouvel épisode.Les références entendues dans l'épisode :Florence Porcel, Pandorini, J-C Lattès (2021)Vincent Bresson, « Le port du masque aura-t-il raison du maquillage? », Slate (2020)Catherine Rollot, « « Je fais juste mes yeux »: le Covid-19 va-t-il démaquiller les femmes? », Le Monde (2021)Elsa Gambin, « La Covid-19 n'aura pas la peau du maquillage », Marie Claire (2021)« Emancipation et maquillage », Pas son genre, Giulia Foïs, France Inter (2020)Lille Lettré, « l'hygiène et le maquillage de l'Antiquité à nos jours », 2015Mona Chollet, Beauté Fatale, La Découverte (2012)Martine Court, « La construction du rapport à la beauté chez les filles pendant l'enfance: quand les pratiques entrent en contradiction avec les représentations du travail d'embellissement du corps » dans Sociétés et Représentations, Cairn Info (2007)Amanda Mull, « The Best Skin-Care Trick Is Being Rich: Don't rub the money directly on your face », The Atlantic (2019)Clément Arbrun « Peut-on porter du rouge à lèvres et être féministe? », Terra Femina (2020)Marion Braizaz, « Le « problème » de la beauté: quand la sociologie s'intéresse au travail esthétique de soi », StrathèseBeverly Skeggs, Marie-Pierre Pouly, Anne-Marie Devreux, Des femmes respectables: Classe et genre en milieu populaire, Agone (2015)Héloïse Famié-Galtier, « Le « blackfishing », le dernier phénomène inquiétant sur Instagram », Puretrend (2018)Véronique Barreau, javaispasvu.comLa Youtubeuse ElsaMakeup« Maquillage pour homme: la beauté enfin pour tous? », Elle Belgique (2019)Sara Radin, « Five LGBT people on what makeup means to them », Dazed (2018)Quinn Rhodes, Edwige Sainte Marie, « Comment le rouge à lèvres m'a aidé-e à explorer mon identité de genre », Refinery29 (2020)Riley R.L, « Beauty Brands Want to Sell Queer Expression, But It Shouldn't Be for Sale », Teen Vogue (2019)Catherine Monnot, Petites filles d'aujourd'hui, Autrement (2009)Esther Newman, « How make-up tutorials became gen z's favorite form of TikTok activism », Daze digital (2021)Elena Scappaticci, « Avec YouTube, « à 12 ans, elles sont déjà plus expertes que nous en maquillage », Slate (2018)The Office, de Greg Daniels, Paul Lieberstein et Ricky Gervais, NBC (2005-2013)Rachida Brahim, La race tue deux fois, Syllepse (2021)Anna Wiener, L'étrange vallée, Globe (2021)Quoi de Meuf est une émission de Nouvelles Écoutes, cet épisode est conçue par Clémentine Gallot et présenté avec Kaoutar Harchi. Mixage Laurie Galligani. Prise de son par Adrien Beccaria à l'Arrière Boutique. Générique réalisé par Aurore Meyer Mahieu . Réalisation, Montage et coordination Ashley Tola.Vous pouvez consulter notre politique de confidentialité sur https://art19.com/privacy ainsi que la notice de confidentialité de la Californie sur https://art19.com/privacy#do-not-sell-my-info.

Rusty and Mike talk about their love of King of the Hill and what you can expect from this episode-by-episode podcast. Season 2 Episode 1: How to Fire a Rifle Without Really Trying (September 21, 1997). When Bobby discovers the one sport he is good at, marksmanship, he and Hank decide to enter a father & son tournament. As it turns out Hank is a terrible marksman. The episode was directed by Adam Kuhlman and Wesley Archer(supervising director). It was written by Mike Judge, Greg Daniels, and Paul Lieberstein. Podcast music courtesy of The Flametrick Subs http://theflametricksubs.com @flametricksubs Learn more about your ad choices. Visit megaphone.fm/adchoices

Rusty and Mike talk about their love of King of the Hill and what you can expect from this episode-by-episode podcast. Season 1 Episode 11: King of the Ant Hill (May 4, 1997). The episode was written by Johnny Hardwick and Paul Lieberstein, and directed by Gary McCarver. Podcast music courtesy of The Flametrick Subs http://theflametricksubs.com @flametricksubs Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Sizzling Samachar of the day on OTTplay , i'm your host NikhilNews first up,The Governesses cast announcedThe Governesses, directed by Joe Talbot, has announced its cast. Lily-Rose Depp, the daughter of Hollywood star Johnny Depp, has been added in a lead role. She is joined by The Worst Person in the World actress and Cannes best actress winner, Renate Reinsve, along with breakout Squid Game star Hoyeon. Based on Anne Serre's novel, the screenplay for the film has been adapted by Olivia Gatwood and follows the lives of three rebellious governesses working in three different households. Apple TV+ thriller, Constellation, adds Noomi Rapace and Jonathan Banks Swedish actress, Noomi Rapace, popular for essaying the role of Lisbeth Salander in the Swedish adaptation of Stieg Larsson's novel, The Girl with the Dragon Tattoo, is set to join Breaking Bad and Better Call Saul alum Jonathan Banks for the upcoming Apple TV+ series Constellation. The thriller series will be directed by Michelle MacLaren and created by Peter Harness. It is touted as a psychological space adventure. Rob Lowe and son to star in Netflix comedyVeteran Hollywood actor Rob Lowe is set to star in a new Netflix comedy titled Unstable. He will team up with his son John Owen Lowe for the comedy series, and it is loosely based on their own relationship with each other. The story will focus on an introverted son attempting to aid his eccentric father from pitfalls. Santa Clarita Diet showrunner, Victor Fresco, will helm the project.Locke & Key to end with season threeThe Netflix series, Locke & Key, based on the comics by Joe Hill and Gabriel Rodriguez will end after its third season. The series follows the adventures of the Locke family and the various supernatural mysteries surrounding their ancestral home called the Key House. The showrunners,  Carlton Cuse and Meredith Averill confirmed that they had always envisioned a three-season arc for the series. The final season will star Emilia Jones, Darby Stanchfield, Connor Jessup,  Brendan Hines, Jackson Robert Scott, Sherri Saum, Coby Bird, and Kevin Durand.Bob Odenkirk to star in new series called Straight ManBetter Call Saul star Bob Odenkirk is set to star in a new series titled Straight Man. The series is an adaptation of a novel by Pulitzer Prize-winner Richard Russo. Odenkirk will essay the role of William Henry Devereaux Jr who is given the responsibility of heading the English department of a poorly funded college in Pennsylvania. Aaron Zelman and Paul Lieberstein will helm the project for AMC. Amazon Studios acquire rights for the film Ending Things Marvel Cinematic Universe star, Anthony Mackie, is set to star alongside Priyanka Chopra Jonas in the upcoming film titled Ending Things. The Amazon Studios film is a romantic thriller about an assassin, played by Chopra Jonas, who wants out of the business, thereby breaking off her partnership and romantic relationship with her longtime associate and partner, played by Mackie.Well that's the OTTplay Sizzling Samachar for today , until the next podcast it's your host Nikhil signing out. Aaj kya dekhoge OTTplay se poochoWritten by - Ryan Gomez

Brian takes one last look at the incredible guests who have joined us on this deep dive journey into The Office. He revisits everyone from the world's best boss to the world's worst HR representative as he uncovers why this little show stole the hearts of people all over the world and made a cast of misfits feel like family. Hear from: Steve Carell, Paul Lieberstein, Craig Robinson, Kate Flannery, Jenna Fischer, Claire Scanlon, Phyllis Smith, John Krasinski, Creed Bratton.  Learn more about your ad-choices at https://www.iheartpodcastnetwork.com Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

Brian takes one last look at the incredible guests who have joined us on this deep dive journey into The Office. He revisits everyone from the world's best boss to the world's worst HR representative as he uncovers why this little show stole the hearts of people all over the world and made a cast of misfits feel like family. Hear from: Steve Carell, Paul Lieberstein, Craig Robinson, Kate Flannery, Jenna Fischer, Claire Scanlon, Phyllis Smith, John Krasinski, Creed Bratton.  Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

In our continuing series of The Office, we talk about S5 and what makes it unique. There was a bit of a shakeup in the writers room for S5 and we also talk about which episode was the first that Steve Carrell directed. we break down the big points of the S5 arc, which are: Michael and Holly's relationship  Jim and Pam's engagement Andy, Dwight, Angela love triangle new additions - Erin, Charles Minor, Ryan and Toby are back Michael Scott paper company and we chat about which episodes are our favorites and least favorites.  thanks for listening! follow us on instagram: instagram.com/thispodcastisnotforyou

Today we hear from the man everybody at Dunder Mifflin loved to hate, Toby Flenderson aka Paul Lieberstein. Brian and Paul go over the moment that Michael Scott's hatred for Toby welled up inside of him, the many ways Paul was the unheralded hero of the show, and their dreams to bring the Dwight spin-off “The Farm” to the world. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

Today we hear from the man everybody at Dunder Mifflin loved to hate, Toby Flenderson aka Paul Lieberstein. Brian and Paul go over the moment that Michael Scott’s hatred for Toby welled up inside of him, the many ways Paul was the unheralded hero of the show, and their dreams to bring the Dwight spin-off “The Farm” to the world. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

Today we’re breaking down Goodbye Toby. To kick off this two part episode, Paul Lieberstein sent in audio clips to talk about what it was like to write himself off the show and introduce Holly Flax, played by Amy Ryan. When Toby has his last day at Dunder Mifflin, Michael insists on throwing him a huge going away party. Angela Martin scoffs at the idea, so Phyllis steps in. While breaking down Pratt Institute, Jenna ends up quoting her own book, The Actor’s Life: A Survival Guide. Creed chimes in about his famous “quabity assuance” scene and Angela learns the difference between “hot to trot” and “fired up”. This episode is cruisin’ for a bruisin’, so listen up!   Link to Jenna’s book, The Actor’s Life: A Survival Guide: https://www.amazon.com/Actors-Life-Survival-Guide/dp/1944648224

Paul Lieberstein costs how much? The Known Frauds discuss Cameo costs for former Office stars, Patriots players. and more. Mike gives an update on his neighborly strife. And the Bruins, Celtics, and Red Sox are surging

Spoiler : non ! Le confinement a conduit beaucoup de personnes à arrêter de se maquiller. D’autres ont continué, par habitude, pour se créer un rituel ou pour faire des visios. Lorsqu’on s’intéresse au féminisme, on peut s’interroger sur la place du maquillage dans nos vies. Entre injonctions et empowerment, quels rapports existent entre genre, classe, race et maquillage ? Clémentine Gallot et Kaoutar Harchi en discutent dans ce nouvel épisode.Les références entendues dans l’épisode : Florence Porcel, Pandorini, J-C Lattès (2021)Vincent Bresson, « Le port du masque aura-t-il raison du maquillage? », Slate (2020)Catherine Rollot, « « Je fais juste mes yeux »: le Covid-19 va-t-il démaquiller les femmes? », Le Monde (2021) Elsa Gambin, « La Covid-19 n’aura pas la peau du maquillage », Marie Claire (2021) « Emancipation et maquillage », Pas son genre, Giulia Foïs, France Inter (2020)Lille Lettré, « l’hygiène et le maquillage de l’Antiquité à nos jours », 2015Mona Chollet, Beauté Fatale, La Découverte (2012)Martine Court, « La construction du rapport à la beauté chez les filles pendant l’enfance: quand les pratiques entrent en contradiction avec les représentations du travail d’embellissement du corps » dans Sociétés et Représentations, Cairn Info (2007) Amanda Mull, « The Best Skin-Care Trick Is Being Rich: Don’t rub the money directly on your face », The Atlantic (2019)Clément Arbrun « Peut-on porter du rouge à lèvres et être féministe? », Terra Femina (2020)Marion Braizaz, « Le « problème » de la beauté: quand la sociologie s’intéresse au travail esthétique de soi », StrathèseBeverly Skeggs, Marie-Pierre Pouly, Anne-Marie Devreux, Des femmes respectables: Classe et genre en milieu populaire, Agone (2015)Héloïse Famié-Galtier, « Le « blackfishing », le dernier phénomène inquiétant sur Instagram », Puretrend (2018)Véronique Barreau, javaispasvu.com La Youtubeuse ElsaMakeup « Maquillage pour homme: la beauté enfin pour tous? », Elle Belgique (2019)Sara Radin, « Five LGBT people on what makeup means to them », Dazed (2018)Quinn Rhodes, Edwige Sainte Marie, « Comment le rouge à lèvres m’a aidé-e à explorer mon identité de genre », Refinery29 (2020) Riley R.L, « Beauty Brands Want to Sell Queer Expression, But It Shouldn’t Be for Sale », Teen Vogue (2019) Catherine Monnot, Petites filles d’aujourd’hui, Autrement (2009)Esther Newman, « How make-up tutorials became gen z’s favorite form of TikTok activism », Daze digital (2021) Elena Scappaticci, « Avec YouTube, « à 12 ans, elles sont déjà plus expertes que nous en maquillage », Slate (2018)The Office, de Greg Daniels, Paul Lieberstein et Ricky Gervais, NBC (2005-2013)Rachida Brahim, La race tue deux fois, Syllepse (2021) Anna Wiener, L’étrange vallée, Globe (2021)Quoi de Meuf est une émission de Nouvelles Écoutes, cet épisode est conçue par Clémentine Gallot et présenté avec Kaoutar Harchi. Mixage Laurie Galligani. Prise de son par Adrien Beccaria à l’Arrière Boutique. Générique réalisé par Aurore Meyer Mahieu . Réalisation, Montage et coordination Ashley Tola.

Paul Lieberstein, Toby from The Office, joins the show to make a new friend. Trust us, you don't want to miss this goofy fella befriend another goofy fella. Singer and friend Alaman Diadhiou brings his pizzaz into a brand new friendship with Michael Scott's nemesis. We were quivering during this one -- genuine anxiety and fear meeting Paul. Levi still hasn't recovered. Donate to our Venmo to help Levi and his anxiety. Happy Monday!

This week TV addicts Schmee and Riker review the pilot of The Office - "Pilot" (NBC/PeacockTV). We discuss how well it did in defining the genre/conventions of the show, introducing its characters, how well it informed the series plot, and how well it hooked us to watch more! Office Ladies Podcast with Jenna Fischer (Pam) and Angela Kinsey (Angela): https://www.earwolf.com/show/office-ladies/ Casting The Office: https://youtu.be/sItKwZdGkTM Jim and Pam, Mixed Berry Scene:https://youtu.be/f3_SfSxzjqM Tell us -- what was in the bag!!!https://www.pilotsthepodcast.com/contact-us Follow us and let us know what you think! Twitter: @PilotsThePod Facebook: www.facebook.com/PilotsThePodcast Check out our website at www.PilotsThePodcast.com.

In this episode:Weird/funny/cringeworthy TV AdsChristmas greetings from listeners, Colt Johnson, Jihoon Lee, Michael Ilesanmi, Zack Kassian, Carole Baskin, Molly Hopkins, Georges Laraque, Svetlana (?), Paul Lieberstein, Syngin Colchester, Leon Draisaitl & Santa Claus Joe's fact checkListener questions & commentsChristmas traditions Strange laws in AlbertaDick of the Week: (Double Dick this week)Covidiot of the WeekDickovidiot of the week Checking in with the Politicians: BC Premier Horgan & Prime Minister Trudeau What Does Kevin think? How Smart Is Carole?The Big Blue FolderClassic SNL plays us out Support the show (https://www.paypal.me/GroseMisconduct)

Netlfix a déjà dégoupillé une série sur ce thème, il y a deux bonnes semaines : Social Distance, 8 épisodes, chacun racontant une histoire différente du quotidien de plusieurs personnages pendant la quarantaine, très vite tourné avec des web cam… Une série imaginée par Jenji Kohan, créatrice de Weeds ou de Orange is the new black… Mais son Social Distance ne décolle pas du tout sur la plate-forme, première petite preuve que les spectateurs n’ont pas forcément envie de regarder ce qu’ils vivent déjà péniblement où qu’ils voient aux infos tous les jours ! Par contre, il y a un projet qui semble très très sympa : les producteurs de The office : Ben Silverman et Paul Lieberstein développent une série comique, toujours liée au monde du travail : un patron un peu foufou qui fait tout pour s’assurer de la productivité et de la connectivité de son équipe à distance. Quant aux séries déjà existantes, elles, font plutôt la part belle aux soignants. La 17ème saison de Grey’s Anatomy, encore inédite chez nous, démarre au cœur de la pandémie, l’héroïne Meredith va péter un plomb, accablée par le travail. Idem pour Good Doctor donc l’ouverture de la saison 4 en double épisode plonge le spectateur dans le quotidien cauchemardesque des soignants. Déjà diffusé aux Etats-Unis, cet épisode a semble-t-il traumatisé les spectateurs qui ont beaucoup réagi sur Twitter. La production se défend en disant que les situations sont réalistes, que les images sont dures, les situations parfois insoutenables mais ils voient un hommage au personnel soignant, et une ultime façon de faire comprendre aux citoyens américains encore sceptiques sur le coronavirus, la réalité qui est là et peut-être provoquer chez eux un électrochoc. ---Tous les mercredis à 8h45, Cathy Immelen épingle pour vous les sorties cinéma . Elle vous dévoile ses coups de cœur et ses déceptions, dans la bonne humeur, aux côtés d'Eric Laforge.

Netlfix a déjà dégoupillé une série sur ce thème, il y a deux bonnes semaines : Social Distance, 8 épisodes, chacun racontant une histoire différente du quotidien de plusieurs personnages pendant la quarantaine, très vite tourné avec des web cam… Une série imaginée par Jenji Kohan, créatrice de Weeds ou de Orange is the new black… Mais son Social Distance ne décolle pas du tout sur la plate-forme, première petite preuve que les spectateurs n’ont pas forcément envie de regarder ce qu’ils vivent déjà péniblement où qu’ils voient aux infos tous les jours ! Par contre, il y a un projet qui semble très très sympa : les producteurs de The office : Ben Silverman et Paul Lieberstein développent une série comique, toujours liée au monde du travail : un patron un peu foufou qui fait tout pour s’assurer de la productivité et de la connectivité de son équipe à distance. Quant aux séries déjà existantes, elles, font plutôt la part belle aux soignants. La 17ème saison de Grey’s Anatomy, encore inédite chez nous, démarre au cœur de la pandémie, l’héroïne Meredith va péter un plomb, accablée par le travail. Idem pour Good Doctor donc l’ouverture de la saison 4 en double épisode plonge le spectateur dans le quotidien cauchemardesque des soignants. Déjà diffusé aux Etats-Unis, cet épisode a semble-t-il traumatisé les spectateurs qui ont beaucoup réagi sur Twitter. La production se défend en disant que les situations sont réalistes, que les images sont dures, les situations parfois insoutenables mais ils voient un hommage au personnel soignant, et une ultime façon de faire comprendre aux citoyens américains encore sceptiques sur le coronavirus, la réalité qui est là et peut-être provoquer chez eux un électrochoc. ---Tous les mercredis à 8h45, Cathy Immelen épingle pour vous les sorties cinéma . Elle vous dévoile ses coups de cœur et ses déceptions, dans la bonne humeur, aux côtés d'Eric Laforge.

This week we’re breaking down The Job. To kick off this 2-part episode we are joined by Paul Lieberstein (Toby from The Office, Space Force), who shares his memories from The Office, his “acting school”, and what characters he misses writing for the most. Then, we answer fan questions about Jim’s ‘big haircut’, and we examine all the ways Pam is enjoying her newfound confidence. Finally, we dig into the hilarious ‘Creed Thoughts’ blog, and we chat about Jan’s new boob job and everything that went into making them look realistic. See you next week as we finish up this supersized episode with The Job Part 2.

Paul Lieberstein may be best known for playing Toby on The Office, but in addition to playing the man who is “everything that’s wrong in the paper business”, he was also a writer, producer, director and even showrunnner at different points on the series.  Today on List It, we talk through some of our favorite Office episodes, and hear what Paul has in the works next!  Learn more about your ad choices. Visit megaphone.fm/adchoices

Writer, actor, and director Paul Lieberstein joins this week to talk about his career. Fans of The Office know and love Paul as Toby, but what they might not know is he almost ended up in a career in finance instead. Hear how Paul got his start, his experience writing and directing a movie, and what he's working on now.Buzzsprout - Let's get your podcast launched! Start for FREEDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.

Let’s go inside Netflix’s Space Force - #110 Proportionate Response. We’ll look at what it took to get this show off the ground, the blast they had on set, and hear exclusively from Aparna Nancherla who portrays novice astronaut Pella Bhat. Chris Gethard who plays crazy Eddie, talks about how he booked the show last minute and the ins and outs of the New York comedy scene. Hosted by Jimmy O. Yang Produced by Rae Votta, Grant Rutter, Matt Sav and Rachael King, in partnership with Pod PeopleEdited by Daniel Carissimi Special thanks to Kurt Graver, Allison McManus, Meg Masters, Lamarco McClendon and Mandy Ellis. Inside Joke: Space Force Netflix, 2020

Let’s go inside Netflix’s Space Force - #109 It’s Good To Be Back On The Moon. We’ll look at what it took to get this show off the ground, the blast they had on set, and hear exclusively from Noah Emmerich who portrays General Kick Grabaston. Executive Producer and Writer of the episode Paul Lieberstein talks about breaking the final two episodes. Owen Daniels who plays Obie, talks about the unique way he came aboard the show. Later, a Secret Special Guest calls in. Inside Joke: Space Force Netflix, 2020

Let’s go inside the series premiere of Netflix’s Space Force - #101 The Launch. Series star Jimmy O. Yang leads us on a look at what it took to get this show off the ground, the blast they had on set, and hear exclusively from Creator, Writer and Executive Producer Steve Carell who also portrays General Mark Naird. Creator and Executive Producer Greg Daniels also joins to talk about Netflix approaching them to develop the series. Find out how Steve and Greg took their legendary comedy prowess and success from The Office to put this new series in orbit. Inside Joke: Space Force Netflix, 2020

A panel discussion on audience building and distribution for independent filmmakers. JONATHAN LIPP - Moderator/Big Apple Film Festival Founder and Director MARCIA MAYER - Producer and sales executive, Independent Spirit Award nominee and winner of the Los Angeles Film Festival Alfred P. Sloan Fast Track Grant. Producing credits include Song of Back and Neck starring Paul Lieberstein, Paul Feig, Rosemarie DeWitt (Tribeca Film Festival), Dirty Hands(Independent Spirit Award nominee, Tribeca Film Festival), Inez & Doug & Kira (Big Apple Film Festival NYC premiere). Sales credits include Cheerful Weather for the Wedding starring Felicity Jones and Elizabeth McGovern, The Art of Getting By starring Freddie Highmore, Emma Roberts, Sasha Spielberg(Sundance Film Festival), Restrepo(Academy Award nominee Best Feature Documentary), In Her Skin starring Guy Pearce.   DAVID PATERSON - David Paterson is the writer and producer of Disney's BRIDGE TO TERABITHIA and THE GREAT GILLY HOPKINS, starring Glenn Close, Kathy Bates, Octavia Spencer, Julia Stiles and Sophie Nelisse. His debut feature film LOVE LUDLOW was an official selection of the Sundance Film Festival and released by Starz Network and Warner Home Video.   BARRY HEYMAN - Barry J. Heyman, Esq. is the founding and principal attorney of Heyman Law, a boutique law firm established in 2004 with practice areas focusing on business, entertainment, fashion, intellectual property and new media. Heyman Law clients include creative talent, businesses, and entrepreneurs. The firm provides legal counsel to creators ensuring they understand the legal and business matters in order to protect their creative endeavors.   DIANE KRAUSZ - Diane has been representing artists for over 30 years. Her areas of expertise include: contract negotiations and drafting, disputes, licensing and merchandising, minors in entertainment, theatre and live performances, independent film and literary rights.   February 10th, 2020 Cinepolis Theater, NYC

Un The Office du télétravail en développement par les producteurs de la série Que serait The Office à l’heure du télétravail ? Paul Lieberstein, qui joue Toby dans la série et le producteur Ben Silverman se le demandent en annonçant une nouvelle comédie de bureau, mais sans le bureau. La série racontera l’histoire d’un patron qui décide de passer toute son entreprise en télétravail, avec son lot de vidéoconférences et appels interminables. Si cela ne vous évoque rien, on vous envie. Aucune info sur le planning de production du projet, qui n’en est qu’à sa phase d’écriture pour le moment. https://www.youtube.com/watch?v=LHOtME2DL4g La dernière saison de Blindspot arrivera plusieurs mois en avance On commence à avoir l’habitude : avec le confinement rime séries diffusées en avance. La faute aux tournages interrompus qui laissent la place aux séries donc la production est terminée. Après Killing Eve ou encore Snowpiercer, c’est au tour de l’ultime saison de Blindspot d’arriver cette fois plusieurs mois avant la date prévue à partir du 30 avril prochain. En France, la série sera diffusée sur TF1.

Un The Office du télétravail en développement par les producteurs de la série Que serait The Office à l’heure du télétravail ? Paul Lieberstein, qui joue Toby dans la série et le producteur Ben Silverman se le demandent en annonçant une nouvelle comédie de bureau, mais sans le bureau. La série racontera l’histoire d’un patron qui décide de passer toute son entreprise en télétravail, avec son lot de vidéoconférences et appels interminables. Si cela ne vous évoque rien, on vous envie. Aucune info sur le planning de production du projet, qui n’en est qu’à sa phase d’écriture pour le moment. https://www.youtube.com/watch?v=LHOtME2DL4g La dernière saison de Blindspot arrivera plusieurs mois en avance On commence à avoir l’habitude : avec le confinement rime séries diffusées en avance. La faute aux tournages interrompus qui laissent la place aux séries donc la production est terminée. Après Killing Eve ou encore Snowpiercer, c’est au tour de l’ultime saison de Blindspot d’arriver cette fois plusieurs mois avant la date prévue à partir du 30 avril prochain. En France, la série sera diffusée sur TF1.

In Episode 106 of An American Workplace, Katie and Chad talk about Season 9 Episode 21 of The Office, “Livin’ the Dream”! LEAVE US A VOICEMAIL TO BE HEARD ON THE SHOW! Dial 93-PRETZ-DAY (937-738-9329) An American Workplace is now live on Twitch each week! Watch on Twitter to see when we go live to record! OUR PATREON PAGE! Bonus content for as little as $1 per month! An American Workplace on iTunes P.O. Box: An American Workplace P.O. Box #852134 Mesquite, TX 75185 Show Notes "Livin' the Dream - Part 1" on iTunes "Livin' the Dream - Part 2" on iTunes 921 - “Livin’ the Dream” Aired May 2, 2013 Dir. by Jeffery Blitz Written by Niki Schwartz-Wright  Contact Katie Twitter Facebook Chad Twitter Facebook Cinescope An American Workplace Facebook Twitter Website Email workplacepod@gmail.com iTunes/Amazon links contain affiliate tags that help us to earn a bit of money when you click on them. Your support is much appreciated!

In Episode 105 of An American Workplace, Chad and Katie talk about Season 9 Episodes 19 and 20 of The Office, “Stairmageddon” and “Paper Airplane”! LEAVE US A VOICEMAIL TO BE HEARD ON THE SHOW! Dial 93-PRETZ-DAY (937-738-9329) An American Workplace is now live on Twitch each week! Watch on Twitter to see when we go live to record! OUR PATREON PAGE! Bonus content for as little as $1 per month! An American Workplace on iTunes P.O. Box: An American Workplace P.O. Box #852134 Mesquite, TX 75185 Show Notes "Stairmageddon" on iTunes "Paper Airplane" on iTunes 919 - “Stairmageddon” Aired April 11, 2013 Dir. by Matt Sohn Written by Dan Sterling 920 - “Paper Airplane” Aired April 25, 2013  Dir. by Jesse Peretz Written by Halsted Sullivan & Warren Lieberstein Contact Katie Twitter Facebook Chad Twitter Facebook Cinescope An American Workplace Facebook Twitter Website Email workplacepod@gmail.com iTunes/Amazon links contain affiliate tags that help us to earn a bit of money when you click on them. Your support is much appreciated!

In Episode 104 of An American Workplace, Katie and Chad talk about Season 9 Episodes 17 and 18 of The Office, “The Farm” and “Promos”! LEAVE US A VOICEMAIL TO BE HEARD ON THE SHOW! Dial 93-PRETZ-DAY (937-738-9329) An American Workplace is now live on Twitch each week! Watch on Twitter to see when we go live to record! OUR PATREON PAGE! Bonus content for as little as $1 per month! An American Workplace on iTunes P.O. Box: An American Workplace P.O. Box #852134 Mesquite, TX 75185 Show Notes "The Farm" on iTunes "Promos" on iTunes 917 - “The Farm” Aired March 14, 2013 Dir. by Paul Lieberstein Written by Paul Lieberstein 918 - “Promos” Aired April 4, 2013 Dir. by Jennifer Celotta Written by Tim McAuliffe Contact Katie Twitter Facebook Chad Twitter Facebook Cinescope An American Workplace Facebook Twitter Website Email workplacepod@gmail.com iTunes/Amazon links contain affiliate tags that help us to earn a bit of money when you click on them. Your support is much appreciated!

In Episode 103 of An American Workplace, Chad and Katie talk about Season 9 Episode 16 of The Office, “Moving On”! LEAVE US A VOICEMAIL TO BE HEARD ON THE SHOW! Dial 93-PRETZ-DAY (937-738-9329) An American Workplace is now live on Twitch each week! Watch on Twitter to see when we go live to record! OUR PATREON PAGE! Bonus content for as little as $1 per month! An American Workplace on iTunes P.O. Box: An American Workplace P.O. Box #852134 Mesquite, TX 75185 Show Notes "Moving On - Part 1" on iTunes "Moving On - Part 2" on iTunes 916 - “Moving On” Aired February 14, 2013 Dir. by Jon Favreau Written by Graham Wagner Contact Katie Twitter Facebook Chad Twitter Facebook Cinescope An American Workplace Facebook Twitter Website Email workplacepod@gmail.com iTunes/Amazon links contain affiliate tags that help us to earn a bit of money when you click on them. Your support is much appreciated!

In Episode 101 of An American Workplace, Katie and Chad talk about Season 9 Episodes 12 and 13 of The Office, “Customer Loyalty” and “Junior Salesman”! LEAVE US A VOICEMAIL TO BE HEARD ON THE SHOW! Dial 93-PRETZ-DAY (937-738-9329) An American Workplace is now live on Twitch each week! Watch on Twitter to see when we go live to record! OUR PATREON PAGE! Bonus content for as little as $1 per month! An American Workplace on iTunes P.O. Box: An American Workplace P.O. Box #852134 Mesquite, TX 75185 Show Notes "Customer Loyalty" on iTunes "Junior Salesman" on iTunes 912 - “Customer Loyalty” Aired January 24, 2013 Dir. by Rainn Wilson Written by Charlie Grandy 913 - “Junior Salesman” Aired January 31, 2013 Dir. by David Rogers Written by Carrie Kemper Contact Katie Twitter Facebook Chad Twitter Facebook Cinescope An American Workplace Facebook Twitter Website Email workplacepod@gmail.com iTunes/Amazon links contain affiliate tags that help us to earn a bit of money when you click on them. Your support is much appreciated!

In Episode 98 of An American Workplace, Katie and Chad talk about Season 9 Episodes 7 and 8 of The Office, “The Whale” and “The Target”! LEAVE US A VOICEMAIL TO BE HEARD ON THE SHOW! Dial 93-PRETZ-DAY (937-738-9329) An American Workplace is now live on Twitch each week! Watch on Twitter to see when we go live to record! OUR PATREON PAGE! Bonus content for as little as $1 per month! An American Workplace on iTunes P.O. Box: An American Workplace P.O. Box #852134 Mesquite, TX 75185 Show Notes "The Whale" on iTunes "The Target" on iTunes 907 - “Here Comes Treble” Aired November 15, 2012 Dir. by Rodman Flender Written by Carrie Kemper 908 - “The Boat” Aired November 29, 2012 Dir. by Brent Forrester Written by Graham Wagner Contact Katie Twitter Facebook Chad Twitter Facebook Cinescope An American Workplace Facebook Twitter Website Email workplacepod@gmail.com iTunes/Amazon links contain affiliate tags that help us to earn a bit of money when you click on them. Your support is much appreciated!

In this bonus episode, Chad and Katie talk about the Season 8 bonus materials on the DVDs. LEAVE US A VOICEMAIL TO BE HEARD ON THE SHOW! Dial 93-PRETZ-DAY (937-738-9329) OUR PATREON PAGE! Bonus content for as little as $1 per month! An American Workplace on iTunes P.O. Box: An American Workplace P.O. Box #852134 Mesquite, TX 75185 Contact Katie Twitter Facebook Chad Twitter Facebook Cinescope An American Workplace Facebook Twitter Website Email workplacepod@gmail.com iTunes/Amazon links contain affiliate tags that help us to earn a bit of money when you click on them. Your support is much appreciated!

Season 2: Episode 21"Conflict Resolution"What does redacted mean? The morale Inside the office is destroyed when Michael takes over Toby's conflict resolution efforts through confronting them head on. We will get everything out into the open and will learn more about Toby Flenderson and the actor that portrayed him, Paul Lieberstein as well as Angela Martin and the actress that played her, Angela Kinsey.