Q. How long did it take to film Jim’s fake-out proposal/shoelace scene? The light was so beautiful and natural there, I can’t imagine it would have lasted long. | Michelle
A. The light was very pretty that night. I wondered if it might be too pretty at the time, but I think the contrast of their chain link fence and the rest of that stretch of the block brought the beauty down to earth.
Q. When Michael was giving his speech about dating, was it intentional that the camera crew zoomed in on Toby when Michael was talking about getting laid, Kelly when he was talking about having babies, and Pam when he was talking about being in love? | Catherine
A. Nice observation. I hadn’t noticed that. It’s possible Jeff Blitz or Dean Holland or Greg Daniels put that together consciously in the editing room. Certainly, the cut to Toby was because Michael had just veered into inappropriate territory, and it’s Toby’s job to take note of that (his talking head about it in the deleted scenes, available online, was originally intended to follow this scene). As for Kelly and Pam, I don’t know the intent behind those editing choices, in terms of who made them or whether they were intuitive or intentional, but I like them.
Q. Did y’all fake Jenna out with Jim getting down on his knee? Like filming it normally with the script without the knee and then the final take, having John do the knee thing. | sorano916
A. No, they’re just really good actors.
Q. Was there any moment cut out of the final version of the episode that you really wished had been included? | DrunkBiking
A. You know, we had a thirty-eight minute cut that was amazing that Dean Holland did; and then Jeff Blitz did a thirty-two cut that was amazing as well; and we had no idea how it would ever get down to show length. Somehow, Dean and Greg found a balance in the end. It’s really an exceptional final edit; even though I loved the longer cuts, nothing feels “missing” to me in this version. Those guys are great editors. Also, knowing that deleted scenes get to survive on the web and DVD always makes it less painful to cut stuff out.
Q. What is your favorite line(s) in the episode? | Grace
A. Michael’s line “I don’t want to be the one who got away” is a great Michael Scott line. I think Greg wrote that. It’s such an elegant joke that is so revealing about his character. Other favorite moments are Steve’s delivery of “She’s crazy” to Kevin.
I like Andy’s monologue about “I did this for Joe Sixpack,” of which several takes were improvised. I was laughing so hard that I had to leave the room as they shot it. In several of his scenarios, he mentioned “waking up in a four-hundred-dollar-a-month apartment” and then “milking the cows” before going to his job at the factory.
Q. What was it like working with Jeffrey Blitz? Was the the first time he’s directed an Office episode or have you worked with him previously? | what’s the dealio?
A. This is his third “Office” episode; he’s also done “The Convict” and “The Negotiation,” both of which I think were expertly directed. (He also directed “Spellbound,” an actual documentary with lots of wonderful comic moments.) He contributed a lot to this episode.
One contribution of his that stands out in my mind is the composition of the scene in Michael’s office as he contemplates “closure” with Dwight, with Michael’s feet on the desk and the camera shooting from the doorway. It looked great, felt natural, and yet somehow we had never thought to stage a scene that way before.