Teri Weinberg

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a very intense experience. All episodes of Next Question with Katie Curic are available now. Listen on the I Heart Radio app, Apple Podcasts, or wherever you get your podcasts. Hi. I'm Hillary Clinton, and I'm so excited to be back with a third season of you and Me both. When I started this podcast, we were going through some tough times, and let's face it, we still are. And here's what

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And we'll get into the hard stuff with writer Cheryl Strait and my dear friend and colleague Juma Aberdeen, So join us. Listen to you and me both on the I Heart Radio app, Apple podcast or wherever you get your podcasts. Hi, I'm Terry Weinberg and I am the executive producer of the Office. Hello everyone, and welcome to you. Guessed it the Office deep Dive. I am your host Brian Baumgartner. But I bet you guessed that too, because you are all very smart, as is my wonderful guest today,

Terry Weinberg. That was a transition. Now, Terry was an executive producer of the Office and a longtime partner of Ben Silverman, which truly makes her a saint, let's be honest. Uh. But she was definitely there from the very beginning in the room where it happened, as they say, the room where they grew the Office from a tiny seed of an idea into the crazy popular show that it is today. Um, as you will hear all about momentarily, Terry was involved from day one in the casting and and really the

creation of the show. But what's even more fast nating to me is that in the later years of the show, Terry jumped over to work on the network side at NBC, so she saw things from the inside and then also from the network side and how the network was dealing with the show. She has a really unique perspective on

the whole story of the Office. And this conversation kicks off another mini series that we're doing highlighting just some of the many talented, hilarious, super smart women who made The Office what it is, both in front of the camera and behind the scenes. This is a great bunch of interviews, if I do say so myself, So I am. I'm really excited to share them all with you. So let's get started, shall we today with Terry Weinberg, Bubble Squeak.

I love it, Bubble squign Bubble and Squeaker Cookie every moment look over from the nuts people. You know, a lot of the cast, I will say, like, we do really still, you know, keep in touch. Yeah, like our fantasy football league is still going, like fifteen years later, So John and Rain and me and some of the crew guys, and good luck with that this year exactly. But you know, Oscar and Angela and I and you know,

Rain and I and John. And that's part of the thing too about this COVID business is that people are reaching out Mare. You know, my birthday was on Monday, and I spent the entire day and zooms, I mean the entire day. You know. But people, you you're learning two things. One we're working harder to stay connect with people, and then you're also learning who wants to stay connected to you. You know, Father's Day I heard from people like Father's Day, like, what nobody ever reached his act?

Why are you right, I'm not your father? Like everyone's reaching out. I don't know. That's been really great. Okay, So you were so omnipresent through all of the beginning. So if you go all the way back now is nineteen years ago, how did you meet Ben? When did you start working for Reveling? What was the transition there? I'm at Ben in two thousands. I had two roommates at the time. One of my roommates, who Ben had known for some time, who I think date he dated

for one second, introduced him to our other roommate. Now Ben was still working at William Morris, I think he was still in London, and he would fly out to l A and he would be out here every month and he would stay for you know, a couple of weeks whatever. So she introduced one roommate introduces him to the other. They start dating in true Bend fashion. He used to stay at the Lermitage. I think it was for three weeks at a time. Either she would stay at the Lirmitage with him or he would stay and

our duplex. And so I started to see him a lot and got to know him just socially. And at that point my roommate that he was dating and me, I just left I c M and we started a skincare company. I would be up all day, all night making all these skincare products in my kitchen, and I was talking about about, you know what my experience was at I c M and whatever. We just got to know each other really well. And it was in March I think of two thousand one. He pulled an all

night er I think at the Oscars, came home. I'm up at four or five in the morning making these things. He comes walking in in his Oswald Botang purple suit, right and m we just started talking. He said, you know what, I'm gonna start my own production company. I've been bringing formats in to the States and I really just want to have more of a creative experience. I want to be a producer, and when I do that,

I want you to go work for me. And I said, okay, well, I have no idea what you're talking about, but okay. Ben talked to me next year because I didn't take him seriously, but he kept bringing up and he always said to me, you know, I really appreciate your work ethic. I like the experience that you have. I have no idea what you'd be doing yet, but I know that I need you to be a part of my company.

So cut to that next year where he made the deal with the vend Universal was very diller at the time, and he brought Howard Owens, Mark Coops, and Chris Grant from New York. They were all still in New York, and he said, I'm bringing these three guys. US didn't know them. We have a bungalow at Universal. So I want you to go and set at the office and I meet a house. Go find me a house. This is no surprise at all, and we will be there in two months or something like that. So what do

I do. I go on the lot. I get the whole entire bungalow up ready to go. All they had to do was walk in and pick up a pen and go to work. Phones everything. I'm navigated my way through the entire universal, every department you could possibly imagine, anyway they come out, and we all just learned how to produce, just the five of us. You would have thought that a hundred people worked at that production company, and it was us five, and so Ben, Mark and Howard.

You know, we're focusing mostly on international all. You know, we had Nashville Star I think, was being developed and the Biggest Loser just kind of you know, looking at formats and kind of touching on what that stuff was going to be, which I really didn't have any interest in. And we had the format too, Coupling. That was our first show that we started to produce in scripted television, and so I just kind of cut my teeth in

that process. I would just sit in a corner, you know, in a room and listen to, you know, the conversations, and I went to every I did everything with Ben. I went everywhere. I was on every phone, call you everything that you could possibly imagine. That's really how I learned is listening to executives, listening to studios, listening to

creative people. I certainly had a deep familiarity with script because that's how I was raised at I c M. And then I just each day I just kept immersing myself deeper and deeper in that process, and that's really how I built the scripted department at REVELI what did you learn from your experience on coupling that felt like

impacted bringing the office over? We learned a couple of things. One, you know, there was so much pressure on that show because it was being coined the next Friends, and we realized that, oh, ship, that's a big problem because people are going to have an expectation that we are trying to be the next Friends, which we had no intention of being. So learning about how critical marketing is of a show, and also we pretty much adhered to every script from the British version instead of kind of making

it our own. And so we also learned that that stuff doesn't necessarily translate. So I think we learned that going into that process, we needed to have a voice. We needed to have somebody come in that, you know, understood the rhythms and the uniqueness of what that show was, but had to bring in their own voice and make

it their own right. Stephen actually said to me that he thought like his greatest contribution was actually and one thing he said to Ricky was stepped back, like they know culturally about what's happening in America or rhythms or specific sensibilities or whatever. So the more we can stay

out of it, the better. I Mean. The most beautiful thing about what Ricky and Stephen did was exactly that they came over, met the cast, spent time with Greg and just talked about the things that we really cared about. How did you create these characters? What made you want to be in this world? How did these rhythms, like all of the things that we're more important. Instead of tell us exactly how you you know, get this shot or whatever, it was really more about all the impetus

is on creating the show. And then they were the most incredible cheerleaders one could ever have. I mean, they were absolutely dream partners, and they literally just sat back and like fans is fell in love with the show and I'll never forget, and I'm sure you'll remember. I mean,

I was kind of a blur. But when we won the Emmy and we were all up on the stage and Greg reached out and said, Ricky and Stephen, I know you're out there somewhere, you know, because of you, you're brilliantly I can't remember exactly what he said, and then I remembered watching the telecast back and Ricky and Stephen they were so proud but got so shy and didn't want to take any of the credit for it.

It was beautiful, and they never had egos about it to say, this is our thing, and we're lending it to you. This is our thing, and we're giving this to you, and we're trusting you to go and do your own thing. Yeah. So, at what point in the process when you were working with REVELI did you become aware of the office, the British Office. I mean it had to be in the beginning because Ben had the rights, he had already secured them. And I remembered Ben showing it to me and said, look at this and tell

me what you think. And I remembered watching and said, oh my god, I have to we have to do this. I don't know what the funk we're doing, but we have to do this. I was absolutely obsessed so very early on. And then then we put the time into you know, try to find the right voice. And in the conversations that Bennett had with Ari, Greg's name obviously came up, and I'm sure he probably told you this, but he just would not watch it. I mean, I think he sat on it for three weeks or something

like that. And then finally Ben was talking to Ari and said, is this guy that ever you know watched this? And I think already said the same thing to Greg, are you gonna watch this? You know, because they're going to move on? And then Greg, I think watched it over that weekend and came back and said, oh my god, I hope to god they didn't move on because I have to do this. Yeah, that's awesome. What was your

initial impression of him? Introvert, brilliant, one of the nicest people I've ever met, collaborative, open, you know, and welcome, didn't bring any ego, respected us and me even I don't know if he knew how much I'd ever, you know, produced in my life, and immediately just treated us like his partners. I fell in love with him immediately and thought,

my god, how do we get so lucky? This man is just brilliant, you know, Greg, He's thoughtful, he's tactile in his hands, like he thinks before he you know, there's a lot ruminating in here before he would share an idea. But he was incredibly thoughtful and very very respectful of the format and of Ricky and Stephen, and cautious because we all knew we were stepping in a gigantic pile of are you guys kidding me that you're

actually going to attempt to do this? So yeah, I just I only have the most and still the fondest memories of Greg. Was there anybody else that you feel like you seriously considered? Or? Was Greg it? Greg? Was it? Ricky and Stephen told me both separately that what sold them was that Greg saw it as a love story. Yeah, it was a It was a love story. Was about humanity, it was about human behavior, It was all about people.

It was all about heart. The thing that we can all relate to is that, in some form or fashion, we've been in a workplace where you're not necessarily happy about the work that you're doing, but you fall in love with the people. It's love and hate relationship. They become family, they become you know, you see them more typically in your life than you do your family members, and so it really was about the love that's created,

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the United States Forest Service and the AD Council. Hi. I'm Glory Adam, host of Well Read Black Girl. Each week, I sit in close conversation with one of my favorite authors of color and share stories about how they found their voice, hone their craft, and navigated the publishing world, and composed some of the most beautiful and meaningful words I've ever read. We journey together through the cultural moment where art, culture and literature collide and pay homage to

the women whose books we grew up reading. And of course I check in with members of the Well Read Black Girl book Club. It's a literary kickback you never knew you needed. And you're all invited to join the club. So tell your friends, tell their friends so we can be friends who would love books. Listen to a Well Read Black Girl on the I Heart Radio app, Apple podcasts or wherever you get your podcasts. You were in the room for the majority, if not all, of the

casting sessions. Was there anyone who walked in right away that was ultimately cast that you went, that's the person John Steve. But Steve is a different story. He didn't really audition. Um, you know, it was a really interesting audition process because I don't think any one of us had ever really kind of been through anything like that before.

Because actors would come in and read a scene and then they would improv, you know, and Greg would throw ridiculous little lines out and say, go tell me you just got into the refrigerator this morning, you know, or just these really kind of weird random things. And we saw so many actors, you know, Greg myself, Ken Howard, Ben, you know, Allison and um Phillis would be in the conference room at REVELI for eight or ten hours a

day just and it was just a constant. And Alison, she had such a deep knowledge of you know, stand ups and second cities and groundlings and people that we've never seen before. And so there were so many people that were so interesting to us. And I think as we whittled things down and it became all of you, we knew it was all of you because everybody didn't fit a mold that we were looking for, but they brought something special and beautiful. It was like making a puzzle.

Everybody just fit in so beautifully for you know, Jim and Pam and Dwight, etcetera. Talk to me a little bit about doing screen tests, filming them in the office

as opposed to doing regular studio and network tests. How rare was that at that time we were the first, if I remember correctly, And the reason was very It was selfish on our part because a we thought they will never make this show if two actors, you know, because at that time, actors used to walk into the President's office and there would be twenty people behind the president and two people would be asked to perform a scene or something with all these eyeballs on them, and

it was the most unnatural process anybody could ever imagine. And then I remember when I went to NBC and became a programmer and we were asking people to do that. I said, I don't want to I don't want to do that. I want to put people on tape because it doesn't you don't get the real person because they're so busy performing her room and so so. Yeah, I think we were the first of its kind, and I think because of that, it started to kind of shift

the way people were auditioning. Do you remember Phillis of course, no, I mean reading, and of course anything about the discussion around casting her. Yes, I mean part of the process was either she would run the camera or Allison would run the camera, and then if Allison didn't feel like reading, Phillis would read. And then Phillis started reading more and more. And I don't remember if it was Ken that said it first or Greg but said, oh my god, she

has to be in the show. She's so funny, and we all said, oh my god, yes, And I remembered us asking Allison how do you feel about if we steal Phillis? And she said, oh my god, you know, yes, you know, take her And I remember us telling her and it was it was pretty amazing. What do you remember so thinking about the Office and what that show was, the style to no laugh track, all that, What was the landscape of television that that show was born into,

Like what was popular? What was done on broadcast TV at that time? Seinfeld cheers all of the seminal comedies that were so smart. But the thing about that time, as I remember, is that ratings were everything. Eighteen to thirty four was everything. You had to have, you know, a twenty share or something. So having you know, five million people or six million people watching your show is just a non starter. You know, it had to be

twenty million. And our audience was very, very concentrated in the eighteen to thirty four and it was very k plus, but it was small. And so that's the challenge was how do we keep ourselves on the air when a the pilot tested worse than I think any other pilot had ever tested on NBC. Besides, I think Seinfeld didn't test well either, And uh, you know, we only had six episodes to prove ourselves, and we were kind of at that time also scheduled in kind of the Okay

you're dead. It was in March, and that's when people said, well, why are shows starting to air after the you know, prime time fall in mid season shows, and so we kind of felt like they were just getting rid of us, right, So the pilot bombed when it was tested. Were you concerned about that, yes, because it was you know, at that time, if something tests really bad, it's d o A, you know, and if it's not d o A, good luck trying to convince your network that it's a pilot

that they should bet on. And so if not for Kevin Riley, this would not have a life. I really do believe that he put his career on the line. So yeah, we were very concerned, and I think it's part of the reason why it tested so poorly. It's just because it was something that people have never seen before.

And those groups that come in to do the testing, you know, they get paid seventy five or fifty dollars or whatever, and then they judge your material based on twenty minutes of something and tell you if it's good or it's bad. That was a real learning experience for me and something that I thought, God if I could. And I think when Ben and I went to NBC, we didn't care so much about testing. We cared more

about instinct. We cared about the shows that we loved and wanted a program So I think that came into a full circle as we went from producer to programmer. That testing serves a certain purpose, but it shouldn't be the be all, hand all of the success of something, right. Well, speaking of that, how did your relationship to the Office change when you moved to NBC. The only thing that changed was that I could be an even larger advocate

for it inside the network. Not that I needed to be, because at that point, you know, we were we were just a well oiled machine. You know. It was interesting because then I became Greg's executive and to switch from being partner and fighting for certain things over here and now being you know, I had programmer, having to fight for certain things that I knew were in the best interest of the network without interfering with the integrity of

the show. And here's a perfect example. We wanted The Office to to air after the Super Bowl, and um, we needed to make sure that if whoever was watching the super Bowl had never seen The Office before, that we had to do something completely outrageous to let people say, oh my god, I i'niversing this show, I love this I'm staying And Greg had pitched a cold open, and I remembered saying, you know, this is kind of cool, but getting a little pressure from Jeff, you know, and

then to make sure that we have some celebrities in there. And you know, we never had celebrities on our show. It was always about, you know, making sure that it felt like we were dropping into a world of just human beings, and in Greg's brilliant fashion, found a way to bring in celebrities without having the celebrities feel like

they were really a part of the Office. And I challenged him to do the most outrageous cold open that he could, you know, if people were only going to see the first minute and a half of the show. So it was having to you know, maneuver a little bit differently as becoming a kind of network person as opposed to his partner on the show. That's fascinating. Yeah, I never put it within that context that at that moment, the people that he was having to do this push

and pull for that episode. You guys, I was the person that would call the network for Greg or the studio and say he's not doing that, or we're not changing this or you know, because he did not like those confrontational moments. And I always said, you want confrontation, just bring it over to Mama and I'll take care

of it. Now I'm the person on the other end of the phone getting you know, well, we want to do this, we need to do that, you know, and and giving notes you know, on scripts was crazy, but

it wasn't. It was you know, my instincts didn't change because I always knew that he was way smarter than me, and I would, you know, I could only you know, the one thing that Greg said to me way back in the beginning when we first started this relationship and he started developing the show was what's most important to me is that you tell me how you feel. How does the episode make you feel? How did the relationships

of the characters in this episode make you feel? You know, do you feel moved enough, do you feel motivated enough? Do you feel And so I would look at the scripts and just think about how did it make me feel. I didn't look at it and say, well, the structure isn't so much blow la llah. It is about are we accomplishing this really quiet moment between Jim and Pam. Is there something going on with the accountants in the in the corner that we're peeking in on, you know?

But the rest of the office is and seeing so those little things. Are you feeling them? Are you picking up on them? It was really about how it made me feel, and that's how I continued to produce from that point on. How did characters make me feel? How do the moments make me feel? Love that so much? Look for your children's eyes to see the true magic of a forest. It's a storybook world for them. You look and see a tree. They see the wrinkled face

of a wizard with arms outstretched to the sky. They see treasuring pebbles, They see a windy path that could lead to adventure, and they see you. They're fearless. Guide. Is this fascinating world? Find a forest near you and start exploring and discover the forest dot Org brought to you by the United States Forest Service and the ad Council. Hello, Hello, Hi, Oh my god. I want to come through the screen and hug you. Hey, everybody. Jessica's or here also known

as Vanessa Abrahams on Gossip Girl. I am so excited to share my new podcast with you guys. It's called XO XO and it's a walkdown memory lane about Gossip Girl. I'll chat with some of the cast crew fans of the show, and I'm just so pumped for you guys to go on this journey with me. All Right, I made Westwick, I played Chuck Bass. I just can't leave that. I did that with my life Jay. We had like the most amazing time. Listen to XO XO on the I Heart Radio app, Apple Podcasts, or wherever you get

your podcasts. Hello, and welcome to our show. I'm Zoe de Chanelle and I'm so excited to be joined by my friends and cast meats Hannah Simone and Lamar and

Morris to recap our hit television series, New Girl. Join us every Monday on the Welcome to Our Show podcast, where we'll share behind the scenes stories of your favorite New Girl episodes, revealed the truth behind the legendary game True American, and discuss how this show got made with the writer's guest stars and directors who made the show so special. Fans have been begging us to do a New Girl recap for years, and we finally meet a podcast where we answer all your burning questions like is

there really a bear? In every episode of New Girl? Plus each week you'll hear hilarious stories like this at the end, when he says you got some schmid on your face. I feel like I pitched that joke. I believe that. I feel like I did. I'm not on a thousand percent I want to say that was I tossed that without listen to the Welcome to Our Show podcast on the I Heart Radio app, Apple podcast or wherever you get your podcasts. Um musty TV became a

big thing for NBC. Where do you feel like the Office fit into that legacy of musty TV comedy on NBC? Oh well, maybe you know this is um arrogant, But we're integral to the NBC Thursday night lae up. I mean we are integral to the conversation of about what a seminal NBC comedy is. I absolutely believe that. I believe that we defied all odds of becoming a successful comedy. Who would have ever thought we were going to do two d and twenty episodes. I mean, think about it.

We got a five episode pick up and then we

got at episode pickup. Really we didn't get a full season, so not only define all of those odds, but also kind of redefining what a comedy was, you know, on television and introducing people into a world that might have felt different, but they also felt like it was so familiar to them and that you could really you know, because people come to comedies for two reasons, really to laugh their faces off and to fall in love with a cast, a family, a workplace, you know, buddy comedy,

whatever it is. And I think having the extensive cast that we had, I mean, what did we have towards the under the run characters? Fifteen characters? Who does that? And every single one of you had people who just loved you. Everybody had their fans. I mean, we got our TV Land Future Comedy Classic in season three or four or something. It's right here. Yeah, so what year is that? Oh my god, there's not a date on it. Hold on, now, there's a date. It's probably on the

other side. Oh it is two eight. So we were a classic already in season three or four, yeah, four, and the fact that we were considered that and look at it, you know now, I mean, I have young kids. I went to a kid's bar mitzvah last year. They're all thirteen fourteen. I was accosted. It was like I was a celebrity at this bar mitzvah because these kids were obsessed with the show. And we always said we had a hidden demographic from the beginning that was under eighteen.

But now we have This show has had a life and then another life and another life, and I really do believe that we are are a part of that conversation. What do you remember about the decision to end the show? Pain? I hated it. It was one of the worst memories

that I have of our beautiful love story. It's always hard when you're making decisions about when you move forward on a show and when you don't from a business standpoint, which I can't respond to because I wasn't on that side of the business at that point, but it was

really fucking hard. It was hard. All the conversations we had, you know, from from being an executive producer, sitting with our cast, talking to you know, the studio, the network and it's kind of a blurn out because I've tried to push it out of my consciousness, but it was. It was excruciatingly painful, and um, I think it hurt a lot of us. I don't know if people really talked about it, but when we shot the last episode,

I was so emotionally and physically exhausted. I think I cried for the last month, you know, But when we were all taking that very last shot. I have a book that NBC made for us. I'm sure you've looked at it, and my face is this big, and I'm bright red and I am crying, and I couldn't believe that it was over. I felt like we had so much more to do and it was over and took a long time to I have a lot of my own kind of internal things about the show that you know,

I'll you deal with as a professional. It was excruciatingly hard. Yeah, what are you most proud of about the show? What? My god? How do I put that in one thing? Dude? H I'm most proud that every single one of us that were involved in the first season of our show, we came to work every day and said, if we're

only making six total episodes. Let's make the best episodes that we know how to make, and let's come in here and do the work and do it with love, and do it with everything that we have, and do it for ourselves, you know. And we all showed up on that lot every single day and made I'm getting emotional about this, and made an incredibly beautiful show. And

it was for all of us. Whether you were in the cast, whether you were in the crew, whether you were in accounting, whether you were in props, catering, whatever, everybody came and just it was like we were on our own island. I think that we all loved it so much, and everybody came and did their job and did it really well and for each other. I could tell you a million other things, but I think I'm most proud of that being given that opportunity and making

our family. Thenk you cry. I hope I got it here. I was trying to not say anything. I wanted to get your audio there. No, it was, Yeah, everybody that came in, I played them a clip and we don't have that ability here, goddamn it. No. But you'll know it's the last line of the show. It's Jenna it's sorry, it's Pam, and there's beauty and ordinary things. Isn't that kind of the point. I feel like Greg wrote that episode, he wrote that last line, that's what he thought it

was about. What did you think it was about? I thought it was I thought it was too I thought it was taking something that could have been the most simple and uninteresting idea about a group of people, you know, going to work in a dying business, and turning it into something that was so much bigger than that. It was bigger than them, it was bigger than us, all

of us. Yeah, it was finding joy and using opportunities to just make people laugh, you know, and be able to escape the you know, maybe the dull drums of their own life and go be with their friends. All of those little beautiful gems that all of you guys were able to create. Every episode. I mean, we can still probably go back through and I'll see things I never saw before. And I've seen those things a million times,

and that was the whole idea. You know, everything was calculated to where Homer Simpson was sitting in the you know, bullpen, you know, all those everything was perfectly calculated, just too for fun of people being able to find the little easter eggs. That's another thing about Greg. He's like a grown child. It was juicy, and when he spoke, he did these things with his hands because it was so fun.

You know. He always just wanted people to have fun and joy, even if you're an adult, that you could still just be a kid. Yeah, is that answer your question totally? Terry, thank you so much for talking to me. I really so good to see you. You're so smart. I hope you stay healthy, and I just appreciate your time. I'm and talking to me about this. First of all, I'll talk to you about anything because I love you.

And it's such a joy to be able to kind of walk back down certain parts of our super long you know, memory lane. I'm really excited to hear what everybody else has to say to I know, I know it's gonna be really cool because I think I get these questions asked all the time, and so it's nice that we'd be able. We're able to, you know, share it. So I love that you're doing this and I'm absolutely thrilled to be a part of it. It's my pleasure. Well, there,

you haven't Terry Weinberg folks. I truly love talking about the business of things, but I have to say it is always so special to talk to a producer who feels so passionately about the creative side of the show as well as Terry clearly does. So thank you so much for stopping by. Terry, I love you, um and thanks to all of you for stopping by as well. I look forward to seeing you next week for more

of our series on the women of the Office. We've got some terrific stuff coming your way, so until then, I hope you have a great week. The Office. Deep Dive is hosted and executive produced by me Brian Baumgartner, alongside our executive producer Langley. Our senior producer is Tessa Kramer. Our producers are Emily Carr and Diego Tapio, and our intern is Hannah Harris. My main man in the booth

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